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19 26
THE MOTION PICTURE DIRECTOR
29
/ Gambled Big for a Comedy
By AL CHRISTIE
course, bought “Up in Mabel’s Room,’’ put into it Marie Prevost and other high-salaried and high-calibre artists and were justified in the procedure because the picture is playing many A-1 theatres and grossing big money which it would not have done had a “cheater” been filmed to fill the gap.
When we negotiated for the rights to “The Nervous Wreck” we were not gambling. We were investing a certain amount of money in potential drawing power of something which made thousands of people loosen up their belts, throw off all restraint and laugh when they saw it on the stage.
That’s one thing. The other is, I (Continued on Page 54)
IT IS a pretty well established fact,” says A1 Christie, head of the comedy producing organization that bears his name and one of the pioneer comedy producers of the industry, “that of all the types of pictures which appeal to the public at large there are two outstanding ‘draws’ — big outdoor productions in the Western atmosphere, and feature comedies — ‘The Nervous Wreck’ is probably the first big comedy which has a locale in the West — It combines these two elements. That’s why I bought it.”
The Nervous Wreck regains his own equanimity but comes very near making nervous wrecks of Paul Nicholson and Clarence Burton, who seek exit, while Mack Swain hides behind a post,, Charles Gerrard and Vera Stedman seek refuge behind a chair, Hobart Bosworth seeks protection from another post and Chester Conklin crouches at his feet, but Phyllis Haver seems unconcerned.