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the earth. He had been a barnstorming actor, a private in the United States Army, and finally had stumbled into film salesmanship. Underneath the fulsome notices of the Famous Players he sensed a desperate gamble. He liked that. He called on Zukor, “sold himself.” The preliminary orders for Queen Elizabeth had gone so badly as to cause Zukor considerable worry. A1 Lichtmann infused the project with new life. To finish with this part of the business: the enterprise paid in dollars and cents, adding something to Zukor’s carefully guarded capital. Also, it fulfilled its primary purpose. The states’ rights buyers, coached and persuaded by the resourceful, energetic Lichtmann, adopted the policy of reselling for exhibition in regular theatres at theatrical prices. In one stroke, it opened for the motion picture a channel from the slums to the heart of cities.
Meantime, on July 12, 1912, Zukor and Frohman exhibited Queen Elizabeth in New York. Frohman had persuaded his brother, now melting a little toward this daring new departure, to grant the use of the sacrosanct Lyceum Theatre for a special invitation matinee performance. This setting alone gave it the seal of dramatic respectability. In July, almost all Who’s Who in New York have fled to the seashore or to Europe. Nevertheless, dozens of literary, artistic, and dramatic figures came back for the day to the hot city “just to help Dan out”; the list of names made a brave showing in next day’s notices. There came also the lords of the