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i6o THE HOUSE THAT SHADOWS BUILT
modern motion-picture business. He was bom in New York a year after his parents emigrated from Hungary. By one of those matrimonial alliances which clutter this story, he had become cousin-in-law to the Frohmans. At Zukor’s request, he had seen Dan Frohman and planted the seed. William Morris, the vaudeville manager, added his good offices.
Zukor picked Dan Frohman rather than Charles for sound but various reasons. The Frohman brothers were not a partnership; they had kept their separate identities. At the moment Charles, what with the success of Barrie and Maud Adams, soared high; while Daniel, to express the situation in the dialect of Broadway, had “pulled off a string of flops.” He was at the nadir of his career; in the mood for a hazard of new fortunes. Also, Daniel Frohman has the golden gift of friendship. Men and women both like him on sight for his easy geniality, his wit, and his heart. His romantic quarters above the L3'^ceum Theatre are plastered with the photographs of stage people from Bernhardt and Irving down to humble understudies; and their autographed dedications seem to ring with affectionate appreciation. The circle of his friendships extended beyond his own profession to the other arts. Most usefully, he was on house-guest terms with some of the most popular authors of the period.
Though Daniel Frohman, with his capacity for absorbing gossip, had heard of Zukor, it was their first meeting. After some shy preliminaries, Zukor opened