The House That Shadows Built (1928)

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178 THE HOUSE THAT SHADOWS BUILT The Good Little Devil he glowed to the proposal. While motion-picture production did not allure him, he had never cherished the conventional prejudice against the film, else he would not have reengaged Mary Pickford after her long career with the Biograph. Zukor had a daring idea — begin The Good Little Devil with Belasco in his study, reading the manuscript of the play while the wraiths of the characters floated past him. With all his own dramatic graciousness, Belasco accepted. And at the moment, he stood to America as the leading exponent of the artistic theatre. Finally, and somewhat later in the game, Daniel Frohman, strolling one day into his brother’s office, stumbled against a financial conference. “ Raise me some ready money at once,” Charles was saying to his treasurer. “I’ve been expanding too fast this season.” Daniel tiptoed out. Returning, he laid a check for $25,000 on his brother’s desk. “What’s that for .'“’’enquired Charles. “An option on the picture rights to all your Barrie productions,” said Daniel. “All right!” replied Charles, without a moment’s hesitation. And he dropped the check into a drawer. The ghost of an old prejudice was forever laid. The footlights at last accepted the screen on terms of social equality. Where the stage led, presumably the public would follow. Zukor had attained his first objective.