Motion Picture Classic (Jul-Dec 1930)

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The MENHENITT COMPANY, Limited 209 Dominion BIdg., Toronto, Ont ■ ■■■■■■■■ His Pace Is His Fortune (Continued from page 48) Eddie lost no time getting started. I borrowed a pencil somewhere and caught some of it. The Movies Not to Blame IF the theater," he began, "feels that the movies have crowded it out, it has only itself to blame. For the theater didn't keep faith with the public. Half-way good shows have been shoved off on the public for the last time. Not only that, the theater doesn't know how to treat the public. "How in the world could they expect to draw movie-sized crowds when they presented their offerings in theaters that often were no more than barns? And the way in which they handled audiences nearly amounted to 'the public be damned.' Programs were shoved at incoming patrons and they were herded to their seats like so many cattle. Perhaps the seats were uncomfortable and the theater itself overly warm or cold. Producers acted as if they were doing the public a favor to let them into their theaters. It couldn't last. It was only natural that the movie crowd should come along and, by making the customers feel at home, inevitably capture a good share of the business." I thanked him and rose to go. Certainly I had enough information here for an article. And, besides, I knew where there was a poker game going on . . . "Where you going?" asked Mr. Cantor. "I'm going home and transcribe my notes," I answered. "It's been a wonderful interview and ..." He Insists OH, no, you're not," he spouted. "I haven't even got started yet. Now you just sit down like a good boy while I get warmed up. Here (and he shoved a chair under me), you're not leaving yet, are you?" I sat down. Evidently I wasn't. "Now the theater," continued Mr. Cantor, "is far from dead." (I borrowed the pencil again.) "Far from dead. Do you know," and he wagged a finger at me, "that in sixty weeks we did some two millions of dollars' worth of business with 'Whoopee '? " I didn't, and I was getting sleepy. "And did you know," he continued (there was really no stopping the man), "that in one year alone we drew (I forget how many) thousands and that road shows annually draw (I forget these thousands, too) more?" "Jed Harris was right when he told a reporter the other day, 'There was only one thing wrong with the theaters, and that was the managers. They have proved themselves to be as imbecile a group of business men as ever got together. They tell us the theater business is in a bad way. They produce bad plays and then wonder why they have failures. Any time you give the public its money's worth, it will flock to the theater. Here are some figures to illustrate: It cost me eleven thousand dollars to produce "Broadway"; it netted me one million, three hundred thousand. "Coquette" cost nie ten thousand and netted a half-million. It is a marvelous business when the managers are not hopelessly incompetent.' " Saving a HalfDay EXCUSE me a moment," snapped Eddie. " I've got to make a scene." He shot from his seat and rushed to his place before the cameras. Instantly he got into character. Speedily he rehearsed the act, supervised the adjustment of microphones, rehearsed the act again and stood ready for the take. Then a cry rang out from the back of t set. One of the gals in the show, perched ( a high seat to represent the spirit of som thing or other, had slipped and landed on Eddie ran around back and got her. Th( he was a sympathetic soother. With a fathe ly arm around her, he cooed soft comfor ing coos. " Did it hurt awfully much? Whei did she land; where her brains are? Woul she please take a deep breath and sa 'Ah!'" Soon he had her snickering; laugl ing. Soon the interruption in the work w£ over and they were back to business. Now, this incident is interesting only a additional evidence of Eddie's amazin energy. A company, always ready to loal would normally take off a half-day becaus of such an occurrence. But the effect 0 Eddie and his all-consuming vitality literal!; spurred the others to work, in spite of them selves. The picture will probably be finishe( by schedule and dozens of efficiency expert: go quite mad. He Crackles TWICE or three times they took the scene. It looked good to everyone. But Eddie asked for another take; and another. Eddie isn't interested in good scenes. He wants them all to be swell. There is a thrill in watching this man work. Somewhere he picked up a craftsmanship that is just a little new out here. The efficiency of Eddie Cantor before the camera has something of big business about it. His sure, staccatoi movements fairly crackle. He seems to click. I'd say that he is electric if I hadn't' already said it. A man can't go on repeating 1 all his life — Presently he was back beside me on thej bench. "The theater," he took up, as if there had been no interruption, " needs i fresh blood in its production department. No one back there (meaning the East) will take a chance. They go ahead, year after year, with the same formulas, afraid of risking a new idea. That's where the movies have 'em. What's more, the movies take tremendous Broadway spectacles, as well as masterpieces of acting, right into the country. Consider what the brilliance and gayety of an 'On with the Show' mean to smalltown people. Realize that if it were not for the movies, countless thousands of rural folk would never see the art of a George Arliss. He Knows His Business "T " HE continued, "have always been Jj interested in the producing end of the theater. I've made it my business to know every branch of the industry and could tell you, up to a few dollars, the cost of transporting a company from ..." But just then he was wanted on the set for another shot. "Excuse me," he said, "I'll be right back." And maybe he was right back. As for me, I didn't wait around to find out. If these live wires from the East think they can work us poor writing guys like that, they're crazy. Eddie Cantor or no Eddie Cantor, a guy's got to consider his health. As I left, the last words I heard were Eddie's. He was addressing the troupe. "Now," he was saying, "let's do it again. And this time let's make it good. Let's work at it! " It would be strange to see a sign on a studio gate reading: Closed Indefinitely jor a Good Long Rest. But that's the one they may have made for United Artists when "Whoopee" is finished. 90