Moving Picture World (Jan-Jun 1910)

506 THE MOVING PICTURE WORLD "Corbies should not pick out corbies' een." This is a Scotcli proverb, which, when translated into the vernacular, means, roughly, that people of a class or kind should not quarrel about their business in public. Expressed more brutally, that there should be honor even amongst thieves. Better still, that esprit de corps should always prevail amongst the members of a ela^s, and. indeed, amongst all classes. * * * I < come to the point: Several writers in these pages, \, whose business it is, or should be, to exalt the moving picture on every possible occasion, appear to be purposely playing into the hands of the enemy and giving the latter opportunity for saying unkind things about the moving picture with some justification. Readers of this page and of the editorials for some months past well know that judges, doctors, legislators and others who have unfairly attacked the picture and the picture house have been soundly trounced. Apparently these people do not think it safe to get back at The Moving Picture World, and yet, if they choose to do so, they could refute or rather confute the arguments of those who are defending and upholding the picture by the writings that are published in The Moving Picture World itself. * * * To wit, brother Hoffman's article on "A Race of Degenerates," t<> which brother Richardson very properly objected. Then 1 come to brother Bush. Bush's articles are generally ible and level-headed. But I venture to think that the openin:-; paragraph of his last week's article on "A Word of Good Cheer" is too much in the nature of a counsel of despair to have the smallest beneficial effect on the progress of the moving picture in public esteem. What Bush says, means, in effect, that no matter how much the moving picture is reviled in the newspapers, from the pulpit, or the bench, no notice should be taken. Turning the other cheek to the smiter is a beautiful piece of beautitudinous religion; but in actual practice it docs not work out well. * * * As a matter of fact, as I and others have pointed out over and over again, the moving picture is on its trial before the public. It has to be defended, and vigorously defended, from the attacks of its many enemies. Tf you do not enter into a defense, then you allow judgment to go by default. Silence gives consent, consequently the Bush policy of talcing no notice and not hitting back would result in permanently degrading the picture in public esteem. * * * Take the analogous case of the ordinary stape. We know that attacks on actresses and actors in the theatrical profession generally are fairly common; yet they are never allowed to pass unchallenged or unrebuked. I often read in the pages of the "Dramatic Mirror" articles of a defensive nature, rebuking intemperate utterances in the pulpit. If the Bush -theory were carried out in the theatrical world, these libels and uncharitable attacks would remain as permanent stains on the characters of a hard-working body of men and women unable to defend themselves. * * * T hope brother Bush and brother Hoffman and the rest of the band of writers for this journal see my point, namely, that it is necessary, in defense .if the picture, to take up a militant attitude towards its maligners, and that manufacturers, exhibitors and we who are interested in every aspect of the moving picture business, should do nothing, and certainly should not write anything, which would tend to give the enemies of the picture and the picture house the smallest excuse for justifying their uncharitable attacks. * * * 1 hope these gentlemen whose writings T am criticising will not misunderstand my motive in choosing their three articles as the text of my sermon for this week. I have had verj considerable experience in trade journalism and T know by proved experience that the militant attitude is the one that pays in the long run. That the members of the trade appreciate a disinterested publication which looks after the mutual welfare of its readers and supporters, which defends their business from unjust attacks and does everything in its power to promote the success of that business. That is what The Moving Picture World always does when persons lublic prominence like doctors, judges and others, unfairly attack the picture. * * * We are all in the business for the purpose of exalting it. Let tts, then, take every possible step to do so. Why, it is only yesterday since very considerable odium indeed attached to the moving picture and its association. That odium many of us are doint? our level best to remove. Evil possibly still exists in various respects and places — evil exists everywhere. But 1 very much question whether we are likely to diminish what little evil may possibly yet exist by drawing attention to isolated cases. LIVE WIRE IN COATESVILLE, PA. The proprietor of the "World-in-Motion," a showhouse in Coatesville, Pa., writes us, taking exception to the remarks about his place by a World reporter. Our representative said that the "World-in-Motion" was housed in a frame building; that the name was not appropriate to a place devoted to cheap vaudeville and only a few pictures, and that the Coatesville folks did not seem to care for vaudeville, as they had to be coaxed in by offering live turkeys." In reply to this, Mr. W. L. W. Jones, the owner and manager, writes: "My World-in-Motion is constructed of steel and brick, the only thing about the house made of wood being the floor. World-in-Motion has a seating capacity of 639. It is the only house in Coatesville that has conformed with the State law regarding aisles, exits and booth. I have five aisles running the entire length of the house, of 4 feet each, and the center one is 5 feet wide. In front of the house is a 5-foot aisle and in the rear another the same width. I have three fire exits, one 14 feet wide, another 7 feet, and another 12 feet wide. The roof of the World-in-Motion is dome shaped and at the highest point is 35 feet from the floor. The place is ventilated by two 6-foot exhaust fans. There are no posts in the entire building to obstruct the view. Performers have frequently stated that they have never worked in a house that they liked better, as the roof is so arranged as to act like a sounding-board and make it an easy house to work in. The building is not an old one, having been built less than three years ago. The name World-in-Motion was given it when I used three reels of pictures and a song. I now run more pictures than any other place in town, as well as three acts of vaudeville — and it is not so cheap at that. I don't find any real reason why I should change the name. As to giving away turkeys as an inducement for people to come to see the cheap vaudeville,' it works out pretty good, as I always have a crowded house when I give away a big, fat, live turkey; and as for coaxing them in, I am being very successful and am glad that I am such a good coaxer. Last week I showed to more than 5,000 people in my house." So there you Have it. The Moving Picture World is sorry that its representative overlooked certain facts, chief of which is that the proprietor of the World-in-Motion is filling his house and consequently making money. We like to hear from successful theater managers. We like to hear that they are filling their houses, and in this case, whether it is the vaudeville, the pictures or the fat turkeys that is the attraction, at least one of them must be good to separate 5.000 people from their money. Managers, you who cannot fill your seats with vaudeville or pictures, or both, "talk turkey." At least it will predispose the farmer, in favor of your show. But don't talk too much about the money there is in the scheme, else a turkey trust may be added to your present burdens. It is now definitely settled that Pathe Freres will erect a producing studio in this country and add American subjects to their already fine program. As to the whereabouts of the studio or the extent of the project no facts have yet been given out for publication.