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THE LOW SPOT
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through in other places; even the two-reelers began to make history. A young truck horse of the vaudeville stage named Charlie Chaplin accepted with some misgivings a job in motion pictures. Long he produced only one or two-reelers of the custard-pie-throwing variety, but they excelled all previous film comedy; they are going yet. In that same field of the two-reeler, John Bunny was capitalizing his fat. Bronco Billy had come out of his anonymity under the name of G. M. Anderson, and Maurice Costello, one of the first legitimate actors to enter “pictures,” blazed out as a star; in 1912, he headed a Vitagraph company which went round the world, filming as it travelled.
J. Stuart Blackton, perhaps the most able of the old group, had leaped into the long film. As Zukor saw the use of the successful play on the screen, so Blackton perceived the mine of wealth in best-selling novels; at top speed he was transferring Rex Beach and Jack London into five-, six-, and seven-reelers. Griffith, declining another offer from Zukor, was preparing on his own account to produce that epoch-maker. The Birth of a Nation, and Rainey s African Hunt, in nine reels, had begun to sweep the country.
Others plunged into the long film — firms which produced their one picture and died or firms now solidly encased in the great combinations of Hollywood. The newspapers no longer called the fashion a mere craze: the pioneer film critics made their modest first appear