Motion Picture Classic (Jan-Dec 1916)

CHRISTMAS EDITION OF ROBERT GRAU’S “HALL OF FAME” In the October number of the "Motion Picture Supplement” appeared an article by Mr. Grau entitled "Filmdom's Hall of Fame,” in which the following were featured: Anderson (G. M.), Bushman, Costello, Daly, Eytinge, Ford, Griffith, Hall, Ince (T.. K. , and John), Johnson, Kerrigan, Leonard, Moore (T., O., and M.), Nesbitt, Ogle, Pickford, Quirk, Richardson, Stewart, Theby, Ulrich, Vernon, Weber, Young (Clara), and Zukor. The Editor attached a note to the article, as follows: "EDITORIAL NOTE. — While the foregoing interesting article was written by one of the foremost writers on Motion Pictures in this country, and by one who is considered an authority on many subjects, it may be a question if Mr. Grau has made a happy selection of his twenty-five characters to represent the letters of the alphabet. Nevertheless it is quite clear that no two writers (or readers, for that matter) could hope to agree on a matter of this kind.” Perhaps it was this mild criticism that inspired Mr. Grau to revise — or, at least, add to — his list, with the result that we have the following "Christmas Edition.” Perhaps when Mr. Grau hears the adverse criticism which is bound to come, whatever be his list, he will be inspired to write still another edition. Let us hope so. There are still names that should be on the list. A stands for Allen — Viola — one of the few distinguished stage stars who came to the screen seriously in the belief that she might bestow something more than a famous name ; who, after scoring a triumph in “The White Sister,” was immediately persuaded to add other of her stage portrayals to the film gallery for posterity. Bfor Bosworth — Hobart — who came to the screen after a prolonged stage career. A protege of Augustine Daly and a product of a dignified stage era, when the stock company was yet the school for artistic development ; who made the fame of Bosworth, Inc., what it was before he was lured to a haven less replete with cares and tribulations. Now producing for the Universal Film Corporation and constantly creating new roles in an environment to his liking. Cfor Chaplin — Charles — the most remarkable personality the screen has ever revealed, whose stage career indicated nothing to suggest that he would turn the Motion Picture art and industry upside down and become himself the greatest attraction the world has ever known ; a seriousminded Englishman who has the rare gift of being able to stand success ; a prodigious worker whose greatest incentive for continued conquest is the never-ceasing prediction of less favored colleagues that Charlie’s vogue will be short. Dfor Drew — Sydney — the Coquelin of the screen, who has made his impress in filmdom greatly thru specializing in mock heroics, but who has indicated in the feature film, “Playing Dead,” that he may yet compare with comedies of that grade in which Jefferson, Florence and Sothern were so happy ; an actor and director who will contribute immeasurably better work to the screen as the new art develops artistically in the present decade. E stands for Eyton — Bessie — the lady daring of filmdom ; the type of picture actress so firmly intrenched in *he hearts of the people (Forty-one) that it is not to be wondered at that she seems destined to spend her entire career in one film organization. Ffor Fuller — Mary — famous the world over not only for her fine portrayals, but also for being the first to be featured in a serial which started the tremendous affiliation between the screen and the press and which broke down the very last barriers in the editorial sanctum against a new art’s development. Gfor Gish — Lillian — protegee of the great master of filmcraft, D. W. Griffith ; a photoplayer who came to New York’s theater-zone unheralded with the epoch-making “Birth of a Nation” and is now widely discussed by critics and in artistic circles, and of whom it is said David Belasco has sought in vain to tempt her to desert the screen for the stage. Hfor Hart — William S. — an experienced stage star, but one of the very few who entered filmdom with serious intent, perhaps the greatest living exponent of Western characters for the screen ; who has repeatedly demonstrated that the play of emotions in weaving a film narrative is a fine art and who seems destined to remain forever at Inceville, where he is now surrounded with a far higher grade support than when he began there. (must still stand for Ince, and few will say us nay. for the Motion Picture art has revealed no greater genius than the master of Inceville, and his younger brother, so often eulogized by this writer, still remains loyal to the Vitagraph Company, where one day he will produce a feature in which he will prove that thrillers do not constitute his final goal. Jfor Jose — Edouard — one time matinee idol of the Parisian stage and long time jeune premier for the divine Sarah ; who, like so many foreign actors gifted in the difficult art of pantomime, has scored a triumph on the screen ; who is now producing for himself, tho still acting before the camera; a delineator of classical roles who makes his impress greatest thru subtlety and repression. Kfor Kent — Charles — grand patriarch of the stage and dean of the screen ; the first actor of prominence to tempt fate and defy precedent by casting his lot in picturedom in the days when the photoplay was just beginning to assert itself ; who is still a vital and honored factor in the organization he joined nearly a decade ago ; a magnificent illustration of artistic rectitude and undying loyalty ; a Vitagraph pillar, beloved of all filmdom. Lfor Lawrence — Florence — one of the very first screen stars who was idolized by the public before her name was known to one in a hundred who paid her homage ; who is seen altogether too seldom these days, but whose career will provide future historians of the screen with much incentive ; the type of photoplayer who has had nothing to fear from the onrush of stage celebrities into filmdom. Mfor Maurice — Mary — the grand old lady of the screen, of whom it is said her face expresses the very last word in motherly affection, but who at rare intervals has contributed film characterizations replete with conflicting emotions ; who sheds real tears, yet who is never happier than when her efforts are confined to comedy ; the Dejazet of the silent drama.