Moving Picture World (Aug 1917)

August 18, 1917 THE MOVING PICTURE WORLD 1075 ( r -± *w *■ ■% 1 — w t — gl «-■■■■ *. «. ^e- Chicago News Letter By JAS. S. McQUADE ^ What Has the Industry Gained by the Late Convention? CONSIDERED largely, the ultimate object of all worthy human effort is progress, and that implies the improvement of conditions which affect the welfare of mankind. Narrowing the viewpoint, the proposition is true in the case of the young, giant industry which has been created by the birth of the moving picture. The seventh national convention of this industry, which ranks fifth among the industries of the United States, is now a matter of history. It was not a convention of the entire industry, as it should have been, for only one of the three departments— the exhibiting, was represented in the deliberating body. The eyes of all the exhibitors in the United States, in Canada, and the world over were directed on Chicago during that convention. Greater interest than ever before was centered on the work of the convention. Big things were eagerly expected and hoped for, as the organization of exhibitors was stronger in numbers than it had ever been. What a chance there was here for united effort in the interest of the moving picture and the industry at large! What an opportunity for placing the industry on a more secure basis! What was accomplished at the convention? One word answers the question — DISRUPTION. Politics and self-seeking and disregard for the future were rampant. Unworthy effort ruled the deliberations of the convention and, as the result, a backward step instead of one forward was taken, and a golden opportunity was lost forever. How much bigger would Lee Ochs appear today if he h?.d ignored self and withdrawn his name! And how much bigger would the seceders have become had they loved the organization better than the desire to get even, and remained within it, and set to work valiantly for its thorough purging. Unity means strength; disruption weakness. Here Is a Compliment to Moving Pictures With a Slam at the Average Producer. Exposition week in Chicago did not only enthuse the fans; it rallied many writers on the big dailies to the cause of the moving picture, and even stirred the editorial mind to the point of fervency on its behalf. Under the head, "Here's to the Movies!" a staid Tribune editor patted the visiting stars and their profession as follows, not overlooking to hand the "average producer" a stiff body blow at the close: According to its passionate press agent, the movie exposition is replete with "dimpled darlings," and all gay blades should attend. So he it ! A gay blade once loaded up with pink roses (among other things) and stood in front of a theater four hours "waiting for Mary Pickford to come out." Nevertheless, there is a lot more in movies than the mere sit-still-myheart sort of romance. There is the romance of a new and very brilliant art. The stars now visiting Chicago take their profession seriously. and a dignified profession it is. It has not only revived pantomime and given it a pioneer opportunity in America, it has developed pantomime to an artistic precision and delicacy seldom, if ever, attained before. In a word, it has made acting natural. In this it has done what the spoken drama was unable to do, though the history of the spoken drama is a history of progressive efforts toward naturalness. On the stage the actor must "get it over." Naturalness is insufficient. Only exaggeration will "carry," for the actor is a long way from the spectator. In the olden times, when actors performed by candle light, they were compelled to rant, to go storming about, and even to think out loud. Gas improved matters. Electric light improved them still more. Today the screen, itself luminous and so large that all can see, makes the smallest and most fleeting change of expression comprehensible. Especially is this true of the "close up." A lip quivers almost imperceptibly, a nostril dilates, eyebrows twitch, and 2,000 spectators at once understand. In the main, movie acting is not realism. It is reality. The strut, thr grandiose gesture, the pose, and the artificial claptrap once inseparable from acting have spared the screen. Conventionalities, once they set in. are short lived. Stars soon quit "registering sympathy" by putting their hands invariably on the sufferer's shoulder. They will soon break their habit of "registering love" by invariably heaving their chests. When we growl about movies, and growl we do at times, it is seldom because of the acting. As a rule, it is because of the scenarios. Wr are a bit charitable even then. Considering the appalling numbers of scenarios demanded and the almost superhuman stupidity of the average producer, we marvel that scenarios are not sillier than they are. Hamburger Secures First Showing Rights in Chicago to Paramount and Artcraft Pictures. Alfred Hamburger, after a lively contest last week, secured the rights to the first showing of Paramount and Artcraft pictures in his Chicago theaters. There was spirited bidding by the owners of other large circuits of theaters in the city, but the rights were awarded Mr. Hamburger at the price of $200,000, of which sum $10,000 was placed on deposit. The Hamburger theaters will, therefore, be in a position to show their patrons first the pictures in which appear Douglas Fairbanks, Mary Pickford, Marguerite Clark, Olga Petrova, Sessue Hayakawa, George Cohan, Elsie Ferguson, D. W. Griffith exclusive productions, Cecil de Mille productions, Geraldine Farrar, Julian Eltinge, Billie Burke, Pauline Frederick, Lina Cavalieri, Ann Pennington, Jack Pickford, Wm. S. Hart, Charles Ray, George Beban, Wallace Reid and Enid Bennett. In addition the new Mack Sennett comedies are included. The deal was conducted through Messrs. Max Goldstine and Elliott, who acted for the Paramount and Artcraft Corporations. Mr. Hamburger announces that augmented orchestras with special music have been provided for the presentations of the big programs. Chicago Film Brevities. Clara C. Morden a prepossessing Chicago girl still in her teens, was the winner in the News-Essanay moving picture actress contest, which was conducted during Exposition week at the Coliseum. Aspiring candidates crowded the booth of the Chicago Daily News every day of the week, while Bryant Washburn made selections from time to time, all of which were considered before the final choice was made. Miss Morden appears to be a very promising find; but, of course, nothing can be stated definitely about her success until she is put at work before the camera. She will be given a prominent part in a photoplay in which Mr. Washburn will appear in the near future, and ths role assigned her will be suited as nearly as possible to her attainments and appearance. Miss Morden is a stenographer on the south side, and has always wished to be a photoplay actress. The first Chicago trade showings of Standard Pictures of the Fox brand were given at the Colonial theater Thursday and Friday mornings, Aug. 2 and 3, by J. E. O'Toole, manager of the Chicago office. On Thursday "The Honor System," direct from a successful run at the Lyric theater, New York, and the comedy, "A Milk-Fed Vamp," were run off. On Friday "Jack and the Beanstalk," a picture for young folks, and "The Conqueror," in which Wlliam Farnum is featured, were viewed. The large auditorium was well filled with interested spectators in the trade. Foreclosure proceedings were begun last week in the case of the Covent Garden Theater Corporation, which owns the Covent Garden theater and the business buildings adjoining it. The Covent Garden theater is under a term lease held by Lubliner & Trinz, who are not in any way affected by the proceedings. The Covent Garden is one of the best patronized picture theaters in the city, and has one of the most select lists of patrons. With the termination of the run of "Les Miserables" at Orchestra Hall, Saturday evening. Aug. 4. that place of amusement was closed until Aug. 19, wlu*n Pathe will again resume the showing of super-features until the beginning of the musical season in October. The Red Cross unit of the Daughters of the American