The Photo-Play Journal (Jul 1919-Feb 1921)

February , 192 1 19 F. Richard Jones: A Master of Comedy By JAMES BRONSON THERE is no more interesting development in the motion picture field today than the surprising trend away from slapstick and towards a higher type of light comedy. It is to be noted on every side and, more particularly, at that headquarters of rough fun, the Mack Sennett Studios, out on Alessandro street in Los Angeles. There is no keener observer of the screen than Mack Sennett. It was Sennett who developed the bathing girl type of film farce and who brought it to its most attractive state of perfection. When Sennett himself turns from slapstick— well — There is no question that Sennett believes that a change is necessary in cinema comedy and there seems to be no question but that he believes in the dawn of a brisk but light type of humor, minus the pie, the tomato and kindred requisites of the old days. It is interesting to note that Sennett, having decided to bring this about, turned to one Richard Jones to inaugurate the change. Jones was directing for the Griffith organization at the time, having just completed three Dorothy Gish comedies. The first of these, "Flying Pat," has just been released. Sennett wired a remarkable offer — $105,000 to devote a year to making three super-farces — and began making his preliminary plans. Jones accepted and rushed westward. Just now he is hard at work upon the first of the new Sennett type of comedies. This will be called "Heart Balm" and will be in seven reels, with a cast including Noah Beery, Ethel Grey Terry, Ben Deely, Bill Bevan and the pretty Marie Prevost. This sudden burst into the spotlight of publicity brings to light an interesting screen personality, for Jones, although he has devoted all his life to the films, has never been well-known. He has been satisfied to linger in the background and wait for. Fame to knock on his door. Yet it was Jones who made "Yankee Doodle in Berlin," and that famous money maker, "Mickey," which oddly marked the setting of Mabel Normand's glory despite its popularity. Jones was with Mack Sennett for years before he joined the Griffith staff. Better let us go back to the beginning. Jones was born in St. Louis. He secured his first position with O. T. F. Richard Jones Crawford, a picturesque figure who then controlled a chain of Missouri theaters and was owner of the Atlas Producing Company. Crawford was engaged in filming a lurid series of Jesse James thrillers and Jones made his debut in this highly colored atmosphere. He was exactly seventeen and one-half years old at the time. Today he is almost twenty-seven. After that Jones drifted to the coast and secured a position with Mack Sennett. There he remained over seven years. He began as cutter, rapidly advanced to head of his department and shortly was writing and editing those sub-titles so characteristic of the Sennett farces of a few years ago. It was at this time that " Mickey" was started at the Sennett studios as a supervehicle for the talents of Mabel Normand. One director after another started on the comedy and fell down, until a total of five had dropped by the wayside. Then Mr. Sennett, who always had great faith in Jones, called him and made him a director. "Make 'Mickey,' " commanded Sennett, and Jones began. "I sfarted by throwing away everything that had been 'shot' previously. I took the scenario, which was slightly more than a . page in length, and wrote a brand new story. Then I was ready to shoot." "Mickey" established something like a world's record in receipts for screen comedies. Jones' second production, "Yankee Doodle in Berlin," was another winner. Then it was that Mr. Griffith, ever on the lookout for budding talent, noted his promise and brought him on, to direct Miss Gish in the Mamaroneck, N. Y., studios. Mr. Griffith was highly delighted with the work of Jones, but the remarkable Sennett contract proved to be too great an inducement for the young master of comedy. Jones is an interesting type of cinema worker. Indeed, he literally works all the time. A startling dynamic energy is his. He has but one recreation, yachting. While he was at the Griffith studios he purchased a small yacht and spent his spare time cruising about the Sound off Mamaroneck. This yacht is now being transported in sections across country and Jones will (Continued on page 53) Nicholas lluray, V. Y.