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

Record Details:

Title:
The theatre of science; a volume of progress and achievement in the motion picture industry
Date:
1914
Publisher:
New York, London [etc.] Broadway publishing company
Volume:
The theatre of science; a volume of progress and achievement in the motion picture industry
Leaf #:
000443
Language:
English
Collection:
Books
Format:
Books
Contributor:
Cornell University Library
Sponsor:
MSN
Coordinator:
Media History Digital Library
Description:
"Edition of 3000 copies ... Autographed edition."
Date Added:
July 19, 2022
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264 C&e C&eatre why Mr. Plimpton, the Edison artistic head, prefers to develop promising talent instead of engaging celebrities, though in the Edison organization to-day there are a number of the most experienced players of the stage calling. All of these, however, revealed from the outset adaptability to studio requirements. Robert Brower has been with the Edisons since the inauguration of the photoplay era. Dan Mason had been a star on the legitimate and vaudeville stage for more than a quarter of a century, but he has never played any part in all his career with more unction and naturalism than was revealed in his portrayal of the minister in "Why Girls Leave Home." The latter may be set dov/n as one of the most compelling and laughter-provoking film comedies up to this date, ranking next to the Vitagraph's excrutiatingly funny "Goodness Gracious." The vogue of such comedies, of which there are too few unfortunately, may best be comprehended when it is stated that the Edison two-reeler, though one of the first photoplays released by the company, is in demand by exhibitors to-day all over the country. The greatest problem the film producer has had to contend with has been in the effort to evolve clean and laugh-compelling comedies, and the Edison organization throughout has been equipped to meet this problem. This was never so apparent as when Robertson's delicious "Caste" was condensed into a forty-minute picture comedy, with all of the important characters concretely drawn and with fewer inserts and subtitles than the average one-reeler has usually required. In this noteworthy production Mabel Trunnelle, a dainty and artistic player of marked versatility, gave to the