The House That Shadows Built (1928)

ENTER SARAH BERNHARDT i6s motion picture. A minority, arguing out the matter in the lobbies, called it a historic occasion. An audience had sat entranced through four reels; had at the end applauded as though Bernhardt were present in the flesh. The longer and more expensive film — already denominated the “feature” — ^was on the way. But the majority, including officials of the Trust, said that Bernhardt was Bernhardt; when this fellow Zukor tried it with ordinary actors of ordinary reputation, they saw his finish. Already Famous Players was producing for itself. A1 Kaufmann had selected for studios the two top floors of an old armoury in West Twenty-sixth Street; Frank Meyer had rushed the instalment of working equipment. Shrewdly and generously, Zukor had formed his important artistic staff. Edwin S. Porter, always more interested in the job than in its financial rewards, needed little urging; stock in the company, a modest salary, and a chance at “big” pictures brought him in. J. Searle Dawley, too, jumped at the chance. Zukor wanted Griffith; but Biograph, knowing well what an asset he was, had tied down the pioneer of Fourteenth Street with a contract. All this time, Frohman was employing his energy, personality, and resourcefulness in rounding up actors and productions. The first to listen to reason was James O’Neill. This age celebrates him as father of our most honoured American playwright. In his own time, all the