Motion Picture News (Nov-Dec 1920)

November 27,1920 4123 Rosemary Theby — A West Coast Fixture by Choice ROSEMARY— that's for remembrance; Theby— that might be a variation on Thebes, suggesting at once Egypt and Spartan women. Together they make the name Rosemary Theby, and incidentally create a suitable impression of the conversation and personality of one of the screen's most satisfactory leading* women. As to Miss Theby herself— the Spartan part is no exaggeration ; the Egyptian, perhaps is. Yet not altogether, because at one time this actress portrayed Oriental roles for Vitagraph and Lubin. She even did a picture called " The Reincarnation of Karma," a landmark of picturedom, — and the past several months has again been wearing the Sultan's jewels in such lavish Oriental productions as "Kismet." It's a long journey from Egypt to Mexico and it is evident that Miss Theby has been following the line of western progress. Which doesn't prevent her from making an occasional return to the Far East. One associates with Mexico both Miss Theby and Edwin Carewe's production of " Rio Grande " in which Rosemary did any number of native Mexican dances to enhance the color of her role. In days gone by Rosemary Thcby's name was associated with a particular brand of two-reel domestic comedy produced as a series by Universal, co-starring Miss Theby with Harry Myers. During that contract she coauthored, co-directed and co-edited the film product. She became established as a comedienne, — despite the fact, she says, that until four years ago she couldn't even see a joke, — and many weeks elapsed before directors on the West Coast, whither Miss Theby had journeyed from New York, could see " her in any role other than comedy. And then, as the tide turned, she was considered for nothing but vampire roles, like the Parisian adventuress in Griffith's " The Great Love," and even at the present writing she has just com pleted a vamp for Fox in " The Connecticut Yankee at King Arthur's Court." Again, she was a variety of vampire in a second Fox play, " The Little Grey Mouse," and in the Robertson-Cole special production of " Kismet." Miss Theby's interpretation of the " heavy " , has been captioned " a milestone in silent-drama acting." Rosemary Theby is one of the " picture-actresses-only," as a Los Angeles critic has said. She has never been on the legitimate although, a few years ago, nearly went with Chauncey Olcott. The stage did, however, furnish the first influence in moulding her career, for it was with the ambition to tread the classic boards that she studied at Sargent's school in New York. But it is the old story, of a pretty girl's difficulties, and a mind made up to return to the paternal hearth, then the note of introduction to a motion-picture director; of Miss Theby being a desirable " type," of long tutelage in the small-part ranks, thence to leads — and stardom. That was with Vitagraph. Later with Lubin. Finally with Universal. Still later, when pictures began to grow out of their '"swaddling clothes," Miss Theby " went West " and has been freelancing ever since. Among the productions in which she has created roles in the last year are Allan Dwan's "A Splendid Hazard," " Athalie," " Rio Grande," and "Michael and His Lost Angel" in which she has been co-starred with Conway Tearle. And co-starring with an intelligent, finished man like Tearle is her ambition. She cares nothing to sec her own name featured exclusively in electrics over a picture production. She likes the team work of a capable male artist in an emotional role, regardless of the time or place of the story. Around the studio Miss Theby is referred to by everyone on the lot as a typical "good scout." Manifestations of temperament never occur to her. Ernest Shipman Believes "The Cast Is the Thing" RECENTLY, while scouting for news regarding certain players, rumored "hooked up indefinitely " in productions for release via First National, it became the happy duty to apply for authentic information to Mr. Ernest Shipman. During the course of our investigation, he touched upon points of sufficient interest to warrant a record for the benefit of those readers who delve into the " whys and wherefores " of the screen. Mr. Shipman, occupying, to say the least, one of the most unique positions of any executive in the motion picture industry. " The cast is the thing. We are obliged to trust to the whims of public favor for the acceptance of a screen production, regardless of the cost of it or any other of the vital ingredients which go to make up a production, but one thing we can supply, by judicious expenditure, and that is a cast, a well selected, dependable cast at any cost ! Take for instance ' Back to God's Country'. The success of the production is a tribute to the abilities of the players. And ' Nomads of the North \ Why the cast was the best that could be supplied a director, including the ' nomads ' themselves. And by the way, the fact that a director worthy of the title was selected for both is a thing not to be overlooked. David M. Hartford, in these two productions proved that distinct care was taken in the selection of a capable man. " The same will hold good when ' The Foreigner ', the first of the Ralph Connor stories is shown, and its reception, to my mind, is already assured. Because I am convinced of the ability of Henry McRae to direct one of the best casts ever assembled. Upon the strength of it, I retained the director and a number of the cast for " Cameron of the Royal Mounted ", another Connor story about to reach completion, and when finished 'The Patrol of the Sun Dance Trail ' will be its worthy follower — same director, many of the same in the cast, and by the way — same author. " Do not mistake that 1 overlook the necessity of an appealing story. But the best story ever written, without a cast worthy of its interpretation would not in my opinion, conform to the demand of the public for well balanced productions. The story is the answer to the first problem. If it is a corking good one, it doesn't matter whether it is a so-called ' costume play ' or one of modern twists and turns founded upon modern methods of business and general happen ings of down-to-date life— if the story is ' there ' you are all set — until it comes to selecting the director and then the cast. There is no economy in saving upon this end of the production. The best are what is desirable and with the proper negotiations, obtainable, and upon their interpretations, depends the acceptance of the finished work more than anything else. I reiterate. ' The cast is the thing '. And in the immediate future I am going to be in a position to back up that statement against any argument. And I have convinced myself that in order to turn out a successful photoplay, we must employ the best people we can secure if we hope to justify the expenditure of securing the proper vehicle, to begin with — and without that — ' we can do nothing'." There is but little one may add to what Mr. Shipman has said. But having glanced over the casts assembled for some of the offerings he mentioned, to illustrate his contention, it is only fair to say that Mr. Shipman does not talk a lot about " casts " and then, where he is concerned, employ them without a strict adherence to the practice of his own preaching. Jerome Storm Signs James Abbe JEROME STORM this week signed James Abbe, well known photographer of New York, to direct, under his supervision, special scenes which form decorative inserts of the Storm production starring Lillian Gish. Mr. Storm recently viewed a Mack Sennett beauty special, directed by Mr. Abbe while in California, and was impressed by the originality and effectiveness of the pictorial composition. As there are several tableaux of an unusual order in the Lillian Gish picture, Mr. Storm at once negotiated for the service of Mr. Abbe. Last winter Mack Sennett engaged him to act as directing supervisor of a special production. Several Abbe poses of the Sennett beauties were used in the divertissement preceding " Married Life." They particularly impressed Mr. Storm because of the effect secured by lighting, posture and general composition. Since directing the Sennett picture Mr. Abbe has had several offers from producers. He accepted Mr. Storm's because he particularly wishes to study that director's methods before assuming full directorial duties. " Pictorial beauty is one of the most vital elements in the success of a photodrama," stated Mr. Storm in announcing the engagement of Mr. Abbe. " And it is the element which has been developed least. There are no limitations to the creation of beauty on the screen. The screen may be restricted as a medium for drama, because it lacks the power of voice, but it is unlimited in the depiction of optical beauty. It offers the canvas for the master artists of the future. In engaging Mr. Abbe I have created a new office. I do not know precisely how it would be titled. That is a detail. What I seek in my organization are ideas on all phases of production. Picturemaking is based on co-operation. The director who believes he is allsufficient is doomed as surely as the ego-obsessed star. I expect to give Mr. Abbe full charge of certain scenes in which the element of beauty is paramount. And with his co-operation, as well as that of the art director, lighting experts and cameramen whom I have been fortunate in securing, I believe some new processes of picture creation will be evolved." New West Coast Film Firms Los Angeles, Calif. — Oliver Morosco Productions, Inc.; cap., $2,500,000; Edgar K. Brown, 437 Consolidated Realty Bldg. Los Angeles, Calif. — Art Page Comedies, Inc., 812 New Pantages Theatre Bldg.; cap., $50,000; Samuel Kramer, Wm. K. Saxton and Philip Cohen. Los Angeles, Calif. — Scientific Feature Films, Inc.; cap., $25,000; Jno. G. Clark, Enid L. Wattron and S. J. Bowman. Carnaban & Clark, Attys. Los Angeles, Calif. — Film Artists Productions, 645 N. Gramercy PI. Style filed by Carl W. Swearingen. Tucson, Ariz. — Harmony Film Co.; cap., $300,000. Los Angeles, Calif. — Seacraft Corporation of California; cap., $250,000; E. A. Featherstone, H. E. Roach, Dustin Farnum, Thos. H. Ince. Wm. LaPlante, Atty.