The Film Daily (1932)

Sunday, April 17. 1932 BLUE LAW BOOMERANG GOES TO HIGH COURT {Continued from Page 1) ater, but vehemently denounced the discrimination shown in singling out amusements and similarly criticized the churches for their interference. In denying the injunction, which was directed against lola Theaters Corp. and Vogel Gettier, Judge Forrest asserted the county attorney and the churches had gone into court with "unclean hands" because they did not demand the Sunday closing of the other businesses. The state has taker an appeal to the supreme court because ol the severe attitude taken by Judge Forrest in denying the injunction. The transcript of the record of the case, now on file in the supreme court, quotes Judge Forrest in part: "What you gentlemen are trying to get me to do, in this equitable proceeding, is to take this statute and read into it that this law applies to a man operatmg a picture show only. That is what you are trying to do. That it doesn't apply to filling station men selling gasoline and oil and servicing cars for another. The Standard Oil, and Shell and that outfit can go scot free and unscathed. No. sir ; it cannot be so construed in this court. "I am not going to be a party to a proposition of making one man bow his head in respect to the law and wink my eye at the other fellows violating the same law ; not me. That is just what is wrong with all of us today. We are winking our eyes at the violators of the law and enforcing only those that we like." Speaking of Church interference, Judge Forrest said: "When they stand in their spiritual place, in the pulpit, preaching the word of Jesus Christ, they are in their proper places, but when they stand there in their pulpit, preaching the word of Jesus Christ and the Law of God, and have full knowledge of the fact that right in the same block, on the opposite corner from their church, _ there is a fellow servicing motor cars, selling gasoline and oils for cars and thus violating the law of this state which prohibits laboring on Sunday, then how can they come in here into this court, and say, 'We must insist on an injunction against this man four oi five blocki away for doing the very same thing.' That's what I should like to know.' All But 45 RKO Houses On Summer Film Policy (Continued from Page 1) ture policy, to continue until September. The question of installing vaudeville in the majority of RKO houses next season, and a decision as to the continuance of doublefeaturing in certain houses, is to be settled by RKO officials by July 1, it is understood. COMING & GOING ONA MUNSON, stage and screen player, has left for Washington, where she will appear with the National Theater Players in a season of stock. AL MANNON arrives in New York from the Coast early next week. GEORGE FOLSEY, Paramount cameraman, leaves New York for Hollywood next week. MORT BLUMENSTOCK, home ofifice executive in charge of advertising and exploitation for Warner Theaters, leaves today (Saturday) for Milwaukee, Chicago, Cleve land, Pittsburgh and Washington to set up Warner Theater campaigns during the next six weeks. HARRY ROSENQUEST, assistant Vitaphone sales manager, returned yesterday? (Friday) from Washington, Philadelphia and Eastern Pennsylvania. =t5B^ AIDNG™^ DAILV lALTO PUILM.DALY NEW VOCIC IDS ANGELES • • • IT MAY interest all you modern day projection machine operators to know about the daddies of your profession the first operator with a regular assignment was Eber hard Schneider at the Eden Musee on 23rd Street in New York in 1896-97 he first used a Lumiere machine then a Joly Cinematograph toward the end of his engagement he used his own machine the Wonderscope he was followed at the Musee by William Beadnell then came Eugene Elmore • • • IN THIS connection it is interesting to note that one of the industry's first directors, Ed Porter started as an assistant projectionist at the Eden Musee in 1896 he was taught to operate a machine by Charlie Webster of the International Film Company.. the machine he used was Kuhn's Projectograph • • • ALL THIS info relayed to us by Jean Le Roy, the Daddy of the projection machine as we know it today makes a bum out of our recent story that Ed Porter was the First Director for Ed was operating a machine at the Musee in 1899 the year we credited him with producing the first feature-length pix, "The Life of An American Fireman" at the Edison stude • • • AT LAST we can g;ive you the Straight Facts and we hope all these historians of the film biz will take due note and admit that their dope is all hooey even as ours was the very first feature-length picture made was that of the New Orleans Mardi Gras in 1895 it was shot by Edmund Kuhn for William Rock who ran the Vitascope store show in that city the next feature pix was "Jack and the Beanstalk" made in the East 21st Street Edison studio photographed by Ed Porter in 1901 ; * * * * • • • THINK OF that! a lapse of six years between the first two feature pictures this American industry turned out and today some guys squawk about shortage of product ! • • • IT WAS not until 1902 that Ed Porter made "The Life of An American Fireman" at Edison's East Orange stude which gives it a rating as America's third Feature not the first and the much touted "Great Train Robbery" that is generally conceded to be the First Feature was made in the fall of 1903 by Mister Porter definitely fixing it as the fourth feature to be produced in this country. • • • YOU MAY recall Little Twinkle Toes who recently conducted a Fairyland Investigation of What's Wrong With The Motion Picture Industry the fairy elf was very pleased with the write-up we gave him he's de veloping a Publicity Complex like all the rest of you muggs likes to see his name in print haw! now he tells us that he's just investigated the Big Circuits and found some of 'em running circles in the Red .so he suggests that the circuits managers wear Little Red Riding Hood costumes so they'll be in character but. dear, dear ! will this relieve their fear of the Bad Wolf who is gobbling up Grandma Grosses? COAST AGENCY PREPARING NAME ACTS rOR THE ROAD (.Continued from Page 1) design; Dorothy Tierney Keith, publicity. The organization has prepared the following sketches, either on tour or prepar ing to go on tour; Owen Moore in "Off and On"; Jack Mulhall, in "Johnny Comes Marching Home" ; Hobart Bosworth in "As It Was in the Beginning" ; Ben Lyon, in "The Care of Raising Children"; Anna May Wong, in "Celestial Impressions"; Buck Jones, in "Autographobia" ; Sam Hardy in "The Well-Dressed Man" ; Robert Emmett Keane, in "The Curse of Drink" , Frankie Heath, in "Hearts and Flowers", Leon Errol, in "A Vaudeville Revue", Franklin Pangborn, in "His Saturday Evening Post" ; James demons, in "Reno Vation". Smith, an author, producer and director. has written several revues and comedies and has also done much work for the vaudeville stage and the screen. Ohio M.P.T.O. Joins In Anti-Tax Campaign (Continued from Page 1) dens on all lines of business. Each group is to appoint a representative in each of the 88 counties, and these local bodies will meet to work out a program best suited to their individual problems. P. J. Wood, business manager of the M.P.T.O., is now notifying the exhibitor members. Cinecolor Takes Over Old Multicolor Laboratory (Continued from Page 1) zation and will function in a similar capacity for the new concern. Archie Mayers, general manager of Colorfilm, with headquarters in New York, has closed a deal to produce the Brown-Nagel "Romantic Journeys" in Cinecolor. PARTY FOR HAL HORNE Hal Home, United Artists director of publicity and advertising, who sails today for California, was given a farewell luncheon Friday at Sardi's. Executives and other employees of United Artists and other companies attended, the gathering including Al Lichtman and Gus Edwards. Invitations to attend were telegraphed — collect. « « « » » » r--~ MANY m>W RETUUNSi Best wishes are extended by THE FILM DAILY to the following members of the industry, who are celebrating their birthdays: April 16-17 Charles Chaplin Paul Sloane Otto Lederer Charles Brabin Raymond Gallagher