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200 THE HOUSE THAT SHADOWS BUILT
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1911. Through various causes, including a hot wave and the ineptitude of theatrical men at restaurant keeping, it failed dismally. Very much behind the game now, Lasky went back to his vaudeville turns.
He found room on a major circuit for a comic opera complete in one act. Having a composer already in mind, he thought of William De Mille as librettist. Mrs. Henry De Mille, mother of William, managed the business affairs of her artistic sons. Lasky saw her. No, William could not trifle with vaudeville, said Mrs. De Mille. His play. The Woman, with Jane Peyton, had scored a major hit, and orders for other dramas were piling up. But her younger son, Cecil, had given up his job as a stage director and taken to playwriting. He had, Mrs. DeMille felt, a better comedy touch than William. Lasky struck a bargain for Cecil. The opera proved more than satisfactory, and Cecil booked with Lasky and Rolfe several other one-act sketches at the conventional royalty of twenty-five dollars a week.
' Meantime, the restless Goldwyn had become enamoured of the screen. In the summer of 1913, when Zukor had just opened a way for the long film, Arthur Friend, a theatrical lawyer, called his attention to its possibilities. Returned from his vacation, Goldwyn ranged the town, entering every motion-picture house he passed. During that vital season of new enterprises, there appeared in New York The Delhi Durbar, a glorified news-feature seven reels long, which for the first