Moving Picture World (Jul-Sep 1911)

THE MOVING PICTURE WORLD "S3 It behooves everyone connected with the picture business to insist on the employment of thoroughly competent and safe operators, as on them rests the chief responsibility for the prevention of fire in picture theaters. The pernicious use of political pull in the examination of operators must be discontinued. It is extremely dangerous, and. if persisted in, may mean the sacrifice of many valuable human lives. The Pictorial Poster Popular. Several weeks ago George Kleine sent out a printed circular to exhibitors requesting them to specify what style of poster they preferred, whether the pictorial poster, showing a scene from the film, as issued at present by him. or a descriptive poster giving a brief story of the film subject, without illustrations. Out of 31 replies thus far received, 18 are unqualifiedly for the 4-color, pictorial, one-sheet poster; 10 for a pictorial and descriptive one-sheet combined, such as the Vitagraph Company gets out, and three are for one sheet posters in type only. One exhibitor, in selecting the poster in type only, gave as a reason that the illustrations are too often misleading and sensational. Another wanted a poster in type as well as the pictorial for each film. All the replies placed great emphasis on the value of the poster to the picture business. Exhibitors depend on it as much as on newspaper advertising to bring business. The general requirement is for artistic pictorial work, eliminating offensive sensationalism. Farewell Lunch to John Hardin. The high esteem in which John Hardin (the Western Manager of Thomas A. Edison, Inc., for many years) is held by his Chicago friends, was expressed in words of eulogy and regret at the informal luncheon given in his honor, at the Union, Tuesday, August 29, by George Kleine, just before his departjre for Orange, N. J., where he and his family henceforth will reside. Around the table were gathered, in addition to the host, William N. Selig, F. C. Aiken, I. Van Ronkel, W. R. Scates, William H. Bell, John Verhoeven and the writer. Despite the efforts made to make the occasion cheerful, a. feeling of regret at his departure prevailed, for Jack has been the fount of mirth at many a genial gathering. Hackenschmidt-Gotch Pictures. Moving pictures of the Hackenschmidt-Gotch wrestling match at White Sox Park, on Labor Day, were taken for the Motion Picture Patents Company by the Selig Polyscope Company. The light conditions were excellent and every movement, as well as facial expression, of the contestants should be brought out clearly. There were 19 minutes and 50 seconds of actual wrestling which, added to the scenes showing the preliminaries, etc., will give about 1,800 feet of film. The pictures will be interesting throughout, as there was considerable action in the first bout, before Hack's shoulders were pinned to the mat. The second bout will be especially exciting, as it will tell the tale of Hack's shame, when he deliberately lay back on his shoulders to escape the punishment of the champion's famous toe hold. In it will also be seen a record of the conversation between the contestants and the referee. "Don't break my fpot," said Hack to Gotch. "Don't, that hurts." "Make him stop, that hurts," said Hack to the referee. "George, I can't," said the referee to Hack, "your shoulders will have to go to the mat." "All right," said Hack, "I'll let them go." And he did, as the pictures will show. The panoramic view of the great assemblage on the grounds will afford a memorable spectacle, over 25,000 people being present. The negative was developed and a positive printed in record breaking time by the Selig forces. Three hours and fifty-five minutes after the second fall the films were ready tor exhibition. The three negative sections were conveyed inthree automobiles, in succession, from the park to the Selig plant. The date of release will be announced later. Chicago Film Brevities. I. Van Ronkel, manager of the General Film Company's branch at 429 South Wabash Avenue, informs me that he has placed an order for the additional three reels of the Licensed weekly output, beginning September 5th, making in all a total of 36 reels for his customers, weekly. Manager Van Ronkel states that his business is in a very healthy condition, and increasing steadily. Exhibitors at the opening of the Fall season are showing a desire to put in the very best possible service in order to suit their patrons. Mr. Van Ronkel also states that many houses, formerly devoted to vaudeville, and which have been using high class pictures during the summer, are continuing picture program-.. C. N. Walker, owner of the Orpheum, Plymouth, Ind., was in the city last week and called on the General Film Company's office at 'J10 S. Wabash Ave., where he arranged for a Licensed service. Mr. Walker reports business very satisfactory in his city. James Craidone, owner of the Lyric, Bijou and Orpheum theaters in Janesville, Wis., paid his customary monthly visit to the city one day last week. He has been running his houses all through the summer, and stated that the business for the week ending August 26, was the largest in the history of his houses. R. E. Aitken, manager and part owner of the Western Import and Film Co., of London, England, was in the city Wednesday, August 30. Mr. Aitken sailed for London from New York on the S.S. Oceanic, Saturday, September 2. E. W. Dustin, manager of the Atlas Film Mfg. Co., of St. Louis, paid a flying visit last week. He was engaged in selling state rights for "The James Boys in Missouri," which he states is selling rapidly. A. M. Kennedy, manager of the American Film Mfg. Co., is getting out some live and attractive circular advertising matter for the Flying A cowboy pictures. One of these circulars is entitled "A Glimpse of the Next Four Reels of Flying A Cowboy Pictures," and is very handsomely illustrated, the descriptive matter being brief. The American Film Mfg. Co. has completed its negative developing plant in La Mesa, El Cajon Valley, in Southern California, at a cost of $10,000. J. Allen, manager and part owner of the Canadian Film Exchange, with brr.nches in Toronto, Winnipeg and Calgary, was in the city August 26, and departed for Calgary the same day. While here he placed an additional order for the Flying A cowboy pictures, which he reports are popular in Canada. E. B. Miller, formerly business manager of the Essanay Co. and later connected with the Lubin exchange in Indianapolis, has been .appointed manager of the Western Film Co. in Portland, Ore. DANTE'S "INFERNO" AT THE PRINCESS, CHICAGO. By Chas. Young. Saturday, August 26th, the Milano production of Dante's "Inferno" was shown for the first time in Chicago at the Princess Theater, on Clark Street, one of the Shubert houses. The attendance was not all that could have been expected for such a magnificent film, but this was perhaps not unfortunate, as the projection at the first show was very poor. Some trouble was had about the operator's license, the man belonging" to the producing comnany not holding a Chicago city license, and, as a result, the opening of the program was delayed until a Chicago operator could be secured. Finally. E. J Halliday, who runs off the advance releases at the Vitagraph office every Monday morning, was called and put the picture on the curtain. Of course he was working under difficulties at a first show without a chance even to get acquainted with a new machine, and the picture was not what it should have been under favorable conditions. The throw .was very short, about 55 feet, and as a large picture is a necessity for a house of the size of the Princess, a very short f^cus lens was required, not contributing toward good results. However, M|r. Halliday set to wrk, and by Monday evening the projection was as good as could be had under the working conditions. A suitable lens was selected from among several of the required focal length, and the picture on the curtain very carefully brought to sharp focus, the lens covering the screen as well as could be expected, only the extreme corners showing any trace of blur. Much of the beauty of the picture was marred by the presence of light striking the curtain, from the organ light behind it, as well as from several side lights in the balcony! Surely these ought to be dispensed with. There is no reasonable excuse for light on the stage behind the picture screen, especially when it is merely thin muslin, without preparation of any kind. Most of the films are tinted or toned to red tones, and the shadows suffer very much when light struck. In fact, the entire film is tinted, without a foot of it in black and white, and unless projected to the very best advantage, it loses very much of the value of the tinting. Moreover, it is very dense, which, though not due to under-exposure, renders it hard to light brightly. The production itself is a magnificent conception of Dante and follows the poem with surprising accuracy. Yet it is handled so reverently that there is no room whatever for the carping critic to cavil. The acting of Dante and Virgil