The theatre of science; a volume of progress and achievement in the motion picture industry (1914)

230 CI)e Cfteatte like, it took a Laemmle to grasp this problem. He alone prospered amazingly with a white slave photoplay because "Traffic in Souls" was the first and the least offensive, and such interference on the part of the authorities as there was in a few small towns, was due to confusion as to its identity, many believing this was the production that was permanently withdrawn by the courts. But, I do not believe that Laemmle will encourage further productivity of this nature. The productions of 1914, such as "Samson," "Ivanhoe," and "Neptune's Daughter," represent but a faint conception of the plans for even this year's screen output. Laemmle has at his command within the confines of the Universal artistic department — if it can be called such — a group of men who represent as an entity far more for the future of the film industry than the capture of famous players or even famous plays, and he knows that with the Captain Peacockes — Otis Turners, the King Baggots, and the Herbert Brenons, he is well prepared for that day, believed by many to be near at hand, when the vital stage of the moving picture evolution will reveal a far more important line of productivity than plays of other days. The success of "Cabiria" assures a plethora of such productions in 1914-15. It is undoubtedly the near approach of this period, that has induced Mr. Brady's forecast. The writer believes the latter is correct in his conclusions as to the coming of the legitimate theatre into its own, but this condition will have been created greatly through the improvement in film productions which demanded an increase in expenditure on the part of the public, and which first familiarized millions of non-playgoers with