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oC^cfence 275
the state banks of Italy were financing the production to preserve the pictorial records of ancient punic wars.
I looked for David Belasco in vain; even Daniel Frohman, who attends all the film premieres, was not in evidence, but a score or more of the best minds associated with the theatre were as one in hailing the ITALA masterpiece as indeed "the last word in moving pictures."
As for myself, perhaps the best way to describe the impression "Cabiria" made is to merely state that immediately after the matinee, which ended as late as 5 :40 p. m., I went straight to the office of a friend and wrote a letter to Otto H. Kahn, asking him to see this production, if he was not represented at the Astor showing, with a view to its presentation on the screen at the Metropolitan Opera House, where, with the environment it is justly entitled to and the musical setting such as an Otto Kahn can influence, "Cabiria" would remove the last barrier which yet distinguishes the two-dollar-a-seat play production from that of the film studio. In June, 1914, "Cabiria" was regularly presented at the Knickerbocker Theatre, where it scored a sensational triumph.
The production of "Neptune's Daughter," by the Universal Film Company, was regarded with much interest by competing producers. At the premiere at the Globe Theatre this was evidenced by the close attention which a score or more of the most prominent theatrical and film producers gave for nearly three hours, despite the inaugural presentation was by no means free from flaws. The many "waits" and interruptions, due to lack of preliminary tests, were accepted with a patience rarely on view when a spoken play is passed upon by the so-called "death watch."