Moving Picture World (Jul 1916)

414 THE MOVING PICTURE WORLD July 15, 1916 modern Newberry theater, 856 North Clark street, which seats 700 people; Harry Cohen, now widely known in film circles as an efficient film exchange manager, and D. L. Noon. He also holds that the Chicago theater was opened in the latter part of February or March, 1906. Four First Picture Theaters in Chicago. The data now furnished tends to show that the Electric theater owned by Harry Davis of Pittsburgh, was the first "store" picture theater opened in Chicago; that Mr. Jones' theater, opened on Christmas day, 1905, was the second; that the Nickelodeon was the third, and Van Ronkel's Electric the fourth. Type of Pictures in Early Theaters. In all these early theaters sensational pictures were the most popular. Mr. Van Ronkel is certain that he used films 400 feet and more in length of this type at his theater. The most popular at the time were "Escaped from Sing Sing" (Yitagraph), "The Great Train Robbery" (Edison), slapstick comedies of a primitive kind, and trick films, including "A Trip to the Moon" (Melies). Aaron J. Jones is certain that he used pictures 1,000 feet in length at his first house, including "The Great Train Robbery," slap-stick comedies, and street chasing scenes, such as Pathe's comedy showing the baker boy with a tray of pastry on his head being knocked down as he hurriedly goes out of the store, and the following mix-ups. Equipment of Early Theaters. Folding camp chairs, as a rule, formed the seats in these primitive "store" picture theaters, and in some cases many of the people had to stand. Five cents admission was charged for one reel to a show, and as a usual thing, a phonograph was placed in the lobby to attract the attention of passersby. George K. Spoor remembers a peculiar incident, which he narrates in connection with the opening of the first "store" show. To the best of his recollection in the summer of 1896 a moving picture show was given in a room of the old Methodist Church building, on the southeast corner of Clark and Washington streets. The operator was Gilbert P. Hamilton, who afterwards was superintendent of the Essanay plant for a number of years. The picture shown was a prize fight or a boxing contest, about 100 feet in length. About the same time Eddy Foy appeared in "Robinson Crusoe," in the Schiller theater, which was then under the management of Tom Prior. The room in the Methodist Church building only seats 30 people, so that the profits were very small; and so the machine, an Eidoloscope, was taken over to the Schiller, and the picture shown during the performance of "Robinson Crusoe." Edison Machine Used in Chicago's First Picture House. Muslin screens, either plain or sized, or a white wall, were used as a rule, in all these early theaters, and here it may be stated that an Edison projecting machine was used in the first "store" theater opened in Chicago. Panic of 1907 Boosts Moving Pictures. The panic in 1907 gave a tremendous impetus to the moving picture industry generally. During that year five-cent theaters grew and multiplied throughout the country. The scarcity of currency turned the amusement-loving public to the low-priced picture theaters and the oftener they went the more convinced they became that the new entertainment was not only novel, but exceedingly enjoyable and attractive. Hale's Tours Cars in 1906. The Hale's Tours cars came in vogue in Chicago in the spring of 1906. Aaron J. Jones put up the first in a store alongside Schaefer's penny Arcade, at 306 South State street (the old number), the Arcade being 308. Mr. Jones simply took out the store front and ran the Hale's car in, admitting people through the front of his store and giving them exit through the Arcade adjoining. The second Hale's Tours show was opened by Mr. Jones later in the same year, next door north of the present Orpheum site. Of course, scenic pictures only were run in these cars. Illustrated Songs and Pictures. From the earliest days of the "store" shows, music of some kind was used with pictures. At first the phonograph was favored because of its cheapness. Illustrated songs had been used in entertainment as early as 1904, but they were used first in cheap vaudeville houses. In the fall of 1906 they were first used in picture theaters and became quite a fixture until about 1911, when they began to lose their hold on the better class of houses. They gradually dwindled until 1914, when only few could be found in any Chicago theaters. Several small theaters in small country towns still use them, but their day is over. Playing the Pictures. As early as 1909 an attempt was made to play suitable selections on the piano, with drum accompaniment, for the pictures. None of these pianists at that time could improvise so as to catch the theme of the picture accompanied, with the result that patrons with musical ears soon tired of such music and preferred the pictures alone. It was not until men with the calibre of S. L. Rothapfel arrived that real interpretative music accompanied the pictures. That was in 1911 at the Alhambra, Milwaukee. It must not be inferred, however, that Mr. Rothapfel was the only man of this type in the business at that time. There were others who aimed at the same work, but did not succeed in getting into the limelight so strongly. Cheap Vaudeville and Pictures. From 1908 until 1911 the progress of moving pictures was seriously retarded by the introduction of cheap vaudeville acts between films. The custom was introduced by managers ' who had formerly run cheap vaudeville theaters, and who were unable to hold moving pictures at their true value. It will be recalled that the panic of 1907 added large numbers of new patrons to picture theaters, and that the attendance had steadily increased. Most of these patrons were people of refinement and intelligence and resented being annoyed by vulgar and rough entertainment. They were willing to take pictures at their worth, and that was sometimes pretty low, but they would not tolerate the attempts made by "ham fats" and "low brows" to amuse them. A campaign against cheap vaudeville was carried on in the old Film Index by the writer for nearlv two years, with the result that the managers and owners who did not really like low vaudeville intermixed with their pictures, but who at first had been frightened into its use through fear of having their business diminished by their competitors, soon discarded vaudeville. Their business grew, and in the course of time their competitors learned that they were playing a losing game. Organ or orchestral music and vocal numbers soon took the place of cheap vaudeville acts. Gradual Disappearance of the Old "Store" Theater. The survival of the fittest has been forcibly demonstrated in the history of the "store" theater. As the call of the moving picture increased the patronage of the refined class it soon became manifest to exhibitors of intelligence that they must provide better homes for picture entertainment. The new houses were well appointed and equipped. The "dark" house was a thing of the past and health ordinances calling for good ventilation were rigidly enforced. The old "store" theater could not meet the requirements and it was closed. Even when the small house succeeded in complying with the law, it was soon forced out of business bv the larger, modern house which had been built near it. That appears to be the prevailing rule in all large cities and in all cities and towns of importance. The trend is ever toward progress. Better pictures, better projection, better music, better management, betterment in everything is required, in addition to better houses. The public has become enlightened on the whole business and will not be denied. From 1914-16 a wonderful growth in new modern picture theaters has been shown in Chicago. Three big circuits of new structures have come into being. The largest of these and the most costly is owned by the Ascher Bros., Nathan, Harry E. and Max. The two other circuits are comprised of leased theaters, and are controlled by Alfred Hamburger and Lubliner & Trinz. On the Ascher Bros, circuit are the Oakland Square, Drexel and Oakwood boulevards; the Columbus, Ashland avenue and 63rd street; Terminal, Lawrence and Spaulding avenues; Caldo, Clark street and Balmoral avenue; Lane, Center street and Lane center; President, 55th street and Calumet avenue; Frolic, 55th and Ellis avenue, and the Cosmopolitan, Halsted and 79th streets. All of these theaters, with the exception of the President, were built by the Ascher Brothers. The Oakland Square has a capacity of 1,525, and cost $200,000. The remaining theaters have a seating capacity of 1,000 and cost from $150,000 to $200,000 each. Organs and five-piece orchestras are installed in all the Ascher theaters, and appropriate music accompanies the pictures. Three new theaters for the Ascher Brothers' circuit are now under construction, and will be completed in September. Each will have a seating capacity of 1,500. The Alfred Hamburger circuit controls the following houses: Twentieth Century (1,000), 47th and Prairie avenue; the Prairie (1,000). 58th and Prairie avenue; Willard (1,200). 51st and Calumet; Speedway (800), 47th and Indiana avenue;