Photoplay (Jan - Jun 1924)

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Important developments in the business of exhibiting motion pictures and the conduct of theaters had to come before there could be a really prosperous market for pictures built on the bigger idea. Many similar enterprises had to ri-e and fall before the new phase of the motion picture was really established. The process of growth required. time for reactions and changes in the studios, the exchanges, the theaters and down through the whole public of the motion pit hire. But in the motion picture, as everywhere else, the public was ahead of the industry. Turn where you may, the market, which means the public, often seems to be a step in advance of the service. It was the public and not the manufacturers who put headlights and drift aprons and self-starters on automobiles. It was (he public which took the telephone off the wall and put it on the desk. The great business majority always says let well enough alone. Progress comes from discontent and the outside. Wallie ReicTs Double Role This transitional period also brought to the ' screen a number of the names that were to figure conspicuously in the new and dawning era just ahead. It was in 1911. just before the feature movement got under way, that Wallace Reid made his first screen appearance in one of Yitagraph's "Leather Stocking Tales," directed by Larry Trimble. When not otherwise engaged Wallie played the violin for studio atmosphere. Wallace Reid, who came into nation-wide fame in a few years, was the son of Hal Reid, a writer and producer of melodrama, then attached to the Yitagraph scenario staff. In 1912, James Young and his wife, Clara Kimball Young, came from a Salt Lake City stock company to appear in Yitagraph pictures. Clara Kimball Young's first part was in the role of Anne Bolcyn in a Hal Reid story, entitled "Cardinal Wolsey." This was a one-reel picture, also directed by Larry Trimble. In this same time Essanay in Chicago acquired Frank X. Bushman, erstwhile sculptor's model, actor and handsome man in general, the winner of a contest conducted in "The Ladies' World" with a screen career as a prize. Then Beverly Bayne, a Minneapolis girl on a visit to a Chicago friend, was seeing the sights of Chicago, including the Essanay studio in Argyle Street, when the roving eye of Harry McRae Webster, a director, picked her out of a crowd of spectators and started her on the road to starland. In the career of Paul J. Rainey African hunt pictures, which went to the screen in iqi:-'i,v :omc of the primary steps of the new era of long pictures can be traced. The Roosevelt African hunt pictures of the prior period paved the way for the more pretentious Rainey project. Roosevelt's African expedition made Africa fashionable for the millionaire sportsmen, and Rainey's pictures opened the way for a long succession of African animal pictures, which continues today, with occasional outstanding successes. The Paul Rainey "African Hunt" The Paul Rainey pictures were distributed to the trade as an independent product by the Paul J. Rainey Expedition Company, with Carl Laemmle, Robert Cochrane and P. A. Powers among those interested. The production was nine reels long ami had to be handled through a special organization, since it could not be passed through the commercial machinery of Universale program organization, devoted to short pictures lor the standard motion picture theaters of the time. The project was considered highly experimental in that the picture did not contain a dramatic story. It was not clearly realized that the public Only wants to be interested. The Rainey pictures, because of their atmosphere of scientific importance, attracted the attention of many people who were above the reach of the Every lulvortlsemout la moron, vy MAGAZINE is guaranteed. OwnTfour Own Hohner Wake up, fellers! Here's a lad with a whole pocket orchestra! 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