Moving Picture World (Jul-Sep 1911)

THE MOVING PICTURE WORLD 185 The World is now publishing a series of instructive articles from the pen of Epes Winthrop Sargent entitled "The Technique of the Photoplay." The same subject was treated briefly by Mr. Sargent in another publication, but in this series, which commenced in last week's World, he will deal with scenario writing in a most exhaustive manner. As the author has had considerable experience, both as a writer of scenarios and as editor for one of the largest picture manufacturers, he is particularly fitted for the work he has undertaken. Scenario writers will profit by a careful perusal of his articles. IN line with the foregoing comment come a few encouraging words from the Lowell Courier-Citizen, elicited by the Vitagraph's visualization of Julia Ward. Howe's "The Battle Hymn of the Republic," shown at the Theatre Voyons. After seeing this historical motion picture allegory the Courier-Citizen writer observed: "At no point in the picture is the sentiment exaggerated. The mere fact of seeing this masterpiece of motion photography helps one to grasp the full significance of a work small in itself but which has profoundly influenced the course of our national development. On the whole, the film is a conservative and masterful production which well deserves the patronage of the citizens of this city." That may be considered a fair average of the sort of editorial comment that will be forthcoming when picture theatre managers awake to the real wishes of their patrons respecting the character of pictures to be shown. WTH all that is being said in public and trade press about the educational picture and the education of the public to a realization of the educational value of pictures, it would be interesting to note to what extent the educational idea is affecting the picture theatre manager. Now and then The Moving Picture World hears from a manager who seems to be alive to his individual responsibilities in the matter of adapting himself to the betterment of theatre conditions, upon which so much of the uplift movement depends. But, in this season of "closing for repairs" how many are really preparing to raise the standard of their entertainment a few notches to conform with the demand for a better picture entertainment ? At one time and another The Moving Picture World has recorded the efforts of manufacturers to raise the standard of the picture, and, it must be admitted, that the past year or so has seen wonderful progress along that line. Has the manager of the picture theatre kept pace? The opportunity offered by the "closed season" should not be spent in the application of new paint and the scrub brush alone. Let the manager tax his brains a bit in the renovation of his program also. Why not start the new season with a little more of the educational ; there are plenty of scenic pictures to be had, and the number is increasing. We hear much complaint from exhibitors that there is too much of the "cowboy" brand, and that audiences are growing tired of that class of picture. If such is the case why not substitute the scenic, the topical and the educational ? Several manufactures, both licensed and independent, are giving some attention to incidents in American history. We can imagine no subject that will be of greater iterest to patrons of the photoplay, or that will contribute more to the uplift, but we do not detect a wild clamor among exhibitors for that sort of picture. "Give us something that will make the people laugh" is the burden of their song. Hence we are constrained to observe that the educational movement should be extended to embrace the theatre manager. He should study his audience closer and get an expression of preference from them that is indicative of more thought than is the "laugh" which goes with the comedy picture and which the average manager takes to be the last word of approval for pictures. Silent admiration may be and often is the mark of a more deep and lasting effect than the spontaneous laugh. That which excites our risibles is quickly forgotten, while that which stirs our intellect and starts in motion the machinery of thought produces a deep and lasting impression. Let' the manager educate himself up to this higher standard while enjoying his summer vacation, and then open his house in the fall with a stronger appeal to the intellectual. The Lost Gallery Recent public prints have teemed with plans put forth by theatrical managers for regaining the patronage of the much feared but greatly appreciated "gallery god" who, it is averred, has been lured from his accustomed haunts in the top balcony of the legitimate theater by the insidious motion picture, much to the mental and financial annoyance of the aforesaid theater managers. So great, indeed, has been the falling off of the demand for the cheaper seats in the legitimate theaters that many attractions which might have been successful under other conditions, have failed signally through the desertion of the "gallery god." Hence, the cry of distress that has gone up from every American city where promoters of the legitimate drama have been accustomed to gather in the shining shekels in ever-increasing quantities in other years before pictures became the vogue. Note of these conditions has been taken by the Frohmans, the Lieblers, Savage, Harris, the Shuberts and K. & E., who agree that the Lost Gallery must be regained and rehabilitated. Smacks of the storied efforts to recover the fabulous treasures of the "Lost Galleons of the Spanish Main." But, at this stage of the game, those plans are much in the way of locking the stable after the horse is stolen. It has happened, at one time and another, in the history of human endeavor, that one thing of presumed indispensable utility, has been suddenly supplapted by some other thing of superior utility or convenience. Those persons interested in the supplanted thing have desperately resisted the inevitable only to capitulate in the end and adjust themselves to the newer conditions. Just now the legitimate theater interests are engaged in such a conflict, the end of which is in sight. Whether or not those interests are endowed with sufficient wisdom and foresight to terminate the conflict without material loss of pelf and prestige remains to be demonstrated. It has been proposed by certain wise ones that the price of gallery seats be reduced. This is a half measure and will not have the desired result. The price of seats does not enter into the solution of the problem. There are a score of reasons for the loss complained of, any one of which is more potent than price considerations. One in particular may be mentioned, namely, the convenience of the picture show. To persons residing at any distance from the theater district of a large city the trouble occasioned in rushing home from business to dress for the theater outweighs the anticipated pleasure. Throw upon one side of the scales the nearby picture theater where one may with little physical exertion and small cost, pass the evening pleasantly and in comfort and you have the answer to the diminishing attendance at the legitimate house.