Photoplay (Jan - Jun 1924)

Photopi \\ Magazini Advertising Se< m<|N> i 2 i ttelodcon pictures of the time, and, at thi me time, because the subject was, aftei all, uelyu wild circus on it native heath) it interest for the masses. The Rainey Ctures made theii most important suj •fits on special run in legitimate but also worked down into the ption picture theaters and helped to widen ture held. The budding succe o( these bigger picture: hduced interesting reactions among the old u producers ol program |>i> tun- The word feature" began t» be applied with i IBticity to any |>i> ture which was more than E reel in length. The advertisement Sural Film Company began to bloom with Eouncements of "big two-reel features.' ut these advertisements stuck to the old Key of never mentioning the name ol an) erso'n connected with the productions. the leneral never heard of -t.irs. The independ nts. more anxious to use all possible selling sverages and to llauut their raids on the sensed companies, began to he more liberal •ith name-. T he directors ol Edison pictures roke out from under the lid and advertised elves in hold black type in the Dramatic [irror Kalem, Vitagraph, l'.-anay and Selig to adverti-e their player in connection th the picture, independently of the General lm Company which distributed them. Griffith and " Mary " Emerge Meanwhile, the name of D. \V. Griffith had lot \ct appeared either on the screen, in the iterature of the Biograph Company, the Gen•ral Film Company, or anywhere in the rising ide of motion picture publicity. Griffith was ume the less well known within the motion ticture world, and players and director from he training school of Biograph experience vere using his technique and building upon it hroughout the industry It w;ls inevitable hat there would be a reaction to all this. Griffith was beginning to simmer. Mary Pickford. who, in spite of the Biojraph's anonymous manner of presentation, had become a factor of some importance in the iliccess of its pictures, left the concern and th"s direction for the second time, now to go back to David Belasco's management to play in his stage presentation of "The Good Little Devil." Lillian Gish went along. When the winter season of 1912-13 approached, Griffith left on his annual hegira to the sunny regions of Los Angeles, Biograph's winter quarters. Lillian Russell in Color Pictures Incidentally, the American Kinemacolor Company, which was making a considerable fuss of publicity in the trade and small progress in the theaters, was producing in Los Angeles. Frank E. Woods, the first of the critics to take the motion picture seriously, left the Dramatic Mirror in Xew York to go to the coast as Kinemacolor's -cenario editor, and with him went Lee Dougherty, the first irio editor of Biograph, also the first purchaser of Wood-' scenarios. David Mile-, of the Biograph stock company, and Linda Arvidson Griffith, wife of D. W. Griffith, were members of the Kinemacolor studio organization. Lillian Russell, who, in 1012, was still the reigning queen of stage beaut}-, went to Kinemacolor to appear in " La Tosca" this season. In the early spring of igij, the feature picture movement in the United States gained a vast new impetus by the unprecedented sucof the Cines production of "Quo Vadis," imported from Italy by George Kleine. This picture in 8,000 feet went on the screen at the Astor theater. April 21, 1913, the world's greatest motion picture achievement up to that date. Mr. Kleine, as one of the most powerful members of the Motion Picture Patents Company's group of licensees, had all of the existing facilities for putting his products on the motion picture market, but "Quo Vadis" was too big a subject for the motion s^ \ OME people are all for beauty unadorned. 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