Photoplay (Jan - Jun 1924)

Pho ould be given ^iink in the company, rhis t with no enthusiasm and the response that ograph had no stot k available foi issue iffitti then .i-kiil for .in arrangement to pa) i>cr cent of Biograph's profits. 'The time has come," Kennedy answered, or the production ol big fifty thousand dolhu Vou are the man to make them aph i> not ready to go into thai line production. It you stay with Biograph ii II be to make the same kind ol short pit tunat you have in the past. You will not do at. You have got the hundred thousand Bar idea in the back of your head." While these negotiations were in pro e gossip ot' Griffith's discontent ,m>t about lolpli Zukor was enthusiastically interested Griffith's work. Famous Players needed ore talent. Gri tilth OfFered $50,000 Salary There was amazement, horror and fear in ice of the Famous Players when Zukor nounced that he had offered Griffith a salary ity thousand dollar a year to direct for ie company. Daniel Frohman was now certain that hi> ite had lost his reason. The Famous layers concern did not have fifty thousand ollars in siyht. The company was not worth hat much. In the re-amazement and relief of Zukor's ites, this Griffith person had the colossal erve to reject the offer, saying 'T think I ould rather make my own productions." Presently Griffith 'and H. E. Aitken of lutual met. Mutual needed two things very adly; first — pictures to sell to the theater, econd— something to advertise in support of ts promotion. October r, 1015. Griffith left Biograph, at he end of five of the mo-t significant years of notion picture evolution. On October 29, trade journal advertisements mnounced that D. \V. Griffith was "now with jtntual Movies." E\ ery motion picture patron of a decade .£0 will remember the famous slogan "Mutual ■Tovies Make lime Fly" and the winged clock rademark. As a trademark the idea had some oerit and the 'great demerit of offering, the notion picture as a mere time-killer. It was 00 hone-:. When Griffith left, David .Miles was taken >ack into Iliograph fold as a director and Mrs. ). W. Griffith returned to Biograph pictures. Meanwhile, the Klaw & Erlanger producions went ahead. Among the notables introluced to the motion picture by Pat Casey, the lanager of the Protective Amusement Comiany project, was Bert Williams, the negro omedian. In a remotely early chapter this li.-torv told of the discovery of Bert Williams n California by Colonel Selig's minstrel show a the days before the motion picture. Wiliam was now an international celebrity. He lade two comedies under the K. & E. Bioraph auspices. One of these required a graveard location. Williams discovered a satisictory graveyard on Staten Island, where a hrifty sexton locked the gates and held off a uneral while the scenes were photographed, mother Williams corned)', "Darktown Jubiee," started out to be a profound hit. when a rave of race antagonism arose and terminated i screen career. At a Brooklyn presentation f this picture a race riot resulted in the death f two men. Jtage Discovers Pictures Too Late The ambitious Klaw & Erlanger film project ras foredoomed. There were many reasons. 1 large number of the motion picture exhibitors ad never heard of the august concern o*f w. & E. Many of those who had were showlen with old grudges against the stage maglates of Broadway. 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