The House That Shadows Built (1928)

Record Details:

Something wrong or inaccurate about this page? Let us Know!

Thanks for helping us continually improve the quality of the Lantern search engine for all of our users! We have millions of scanned pages, so user reports are incredibly helpful for us to identify places where we can improve and update the metadata.

Please describe the issue below, and click "Submit" to send your comments to our team! If you'd prefer, you can also send us an email to mhdl@commarts.wisc.edu with your comments.




We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.

Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.

iS6 THE HOUSE THAT SHADOWS BUILT can engaged in the primitive business of distributing moving pictures abroad, saw the show in London. The American rights were going begging. He wrote all this to Joseph Engel of the Rex Company. Engel told Porter, who saw that it fitted exactly into Zukor’s programme. Porter passed the word along. Before it reached Zukor, Engel had bought an option on the American rights. Zukor called him up on the telephone. “It’s the greatest feature ever presented in America,” said Engel. “They always are,” replied Zukor. “How much do you want r” “Thirty-five thousand dollars,” said Engel; “half down, the balance when the returns come in.” Zukor’s next words almost caused Engel to drop the telephone receiver. He had quoted a top price, expecting to haggle. And this small exhibitor had answered: “All right. I’ll take it.” For Zukor, on his part, was actually afraid that Queen Elizabeth would slip out of his hands. From the moment when Porter’s message reached him, he perceived that this was a Heaven-sent opportunity. He wanted to establish the habit of long films. This ran the unprecedented length of four reels. He wanted to give the motion picture respectability by dragging into its scope the big figures of the stage. And here came Bernhardt. Perhaps a historian of those times must inform the