The Film Daily (1918)

Vol. VI, No. 48 Sunday, November 24, 1918 Price, 25c. Copyright 1918, Wid's Film and Film Folks, Inc. Published Daily at 71-73 West 44th St., New York, N. Y. by WID'S FILMS AND FILM FOLKS, Inc. F. C. ("WID") GUNNING President and Treasurer LYNDE DENIG, Editor Entered as second-class matter May 21, 1918, at the post office at New York, N. Y., under the Act of March 3, 1879 Terms (Postage free) United States, Outside of Greater New York, $10.00 one year; 6 months, $5.00; 3 months, $3.00. Foreign, $20.00 Subscribers should remit with order. Address all communications to WID'S DAILY, 71-73 West 44th St., New York, N. Y. Telephone: Vanderbilt 4551 — 2 Features Reviewed W. A. Brady's Production of LITTLE WOMEN Brady Special Page 3 Mae Marsh in HIDDEN FIRES Goldwy n Page 5 Harry Carey in THREE MOUNTED MEN Harry Carey Prod.=Universal Page 7 Barbara Castleton & Johnny Hines in. . JUST SYLVIA World Film Page 9 Mitchell Lewis in SAFE FOR DEMOCRACY J. Stuart Blackton . Page 10 Herbert Rawlinson & Priscilla Dean in.. KISS OR KILL Universal Page 11 Catherine Calvert in MARRIAGE Frank Keeney=Sherry Service Page 13 Marguerite Marsh in CONQUERED HEARTS Rialto de Luxe=Klein Dist Page 15 Francis Carpenter & Virginia Lee Corbin in FAN FAN Fox Kid Special Page 16 Lucy Fox in WHY I WOULD NOT MARRY Fox Page 17 Lieut. Bert Hall & Edith Day in A ROMANCE OF THE AIR Crest=State Rights Page 19 Jane & Katherine Lee in. TELL IT TO THE MARINES Fox Page 21 Baby Marie Osborne in. MILADY O' THE BEANSTALK Diando=Pathe Dist Page 23 Special Productions Win]Out The special production is definitely coming into its own. In a way this is a true recognition of the director. For many years, as you all know, I have emphasized the importance of the director, but oddly enough, it is only within the last few months that the more prominent producers have been willing to admit that the director is of supreme importance. They have been blinded by the star situation. It is true today, that the star or the subject material, which has name box office value, is absolutely essential for the purpose of getting people into a theatre, but the happenings of the past year or so have conclusively proven that the producer who expects to survive must protect his star or his money getting material by having his films rhro/^f cirl Kir ,K1^ A\, In other words, the director is insurance. We have not yet reached the point where the director's name is of great value in bringing money to the box office, but we have definitely reached the point where a director's name is of great value in booking a picture with exhibitors. It is only a matter of a few months now, possibly a year, when the names of certain directors will bring money to the box office. I have had several long talks with promim business executives in the past week, relativ the rather important trend in producing a tions, which is bringing the special productu ... a piece of material that has box office value, ma by a big director, into the limelight in direct co" • petition with the films presenting our biggest stars. I find that it is generally agreed that certain special pieces of material perfectly produced, have a box office value on a par with that of our best stars. ■ It is quite apparent that Miss Pickford and Mr. Fairbanks have realized the coming of this competition since they are decidedly in the market for special material which has box office value. It is also rather apparent that such companies as Artcraft, Metro, Universal, Goldwyn, Triangle, and independent producers, will friake a particular effort to do special productions. L. J. Selznick of Select has openly declared his attitude in regards to the special production, since he has announced that he feels he can get as much money with an exceptionally well made special with a box office value name, as he can with a star. This trend in conditions brings the director into his own as never before, and it makes even more important the fact that we have a very limited number of directors who can really get the best results in making special productions. It seems to me that the opportunity for the independent producer who is making special films directed by a truly capable producer, is brighter at this time than ever before. There is a definite certain market for specials, due to the competition between the big distribution concerns who buy such films outright, and the fact that an assured profit awaits anyone who makes a truly worth while film. The ordinary routine machine-made program production is gone. Those who had their money sunk in this system made a hard fight, but they are now willing to admit that machine-made films are only good as fill-in stuff and can only command a minimum in rental. Every organization previously committed to the machine-made program product is now struggling to register the better films idea made on a higher quality basis. This is a very hopeful sign. The coming of these specials is not going to in any way interfere with the success of our really capable stars, but it is certainly going to put a beautiful crimp into scores of almost stars who have been getting away with murder and foolish salaries because someone spent money announcing them as a star and then forced their product upon the exhibitor by means of a program releasing contract system.