Photoplay (Jul-Dec 1922)

Photoplay Magazine — Advertising Section 107 The Romantic History of the Motion Picture (Continued from page 46) record motion, on a flexible support. But he did not do what Edison and Dickson did, either before or after them. His efforts relate to the motion picture in the same manner but in a less degree than that of Muybridge. Another source of frequent controversial statements is the work of Louis Aime Augustin LePrince, mentioned in the first chapter. Had it not been for the untimely and amazing mystery of his end, M. LePrince might indeed have become a claimant for motion picture honors. He was a studious scientist, educated at the College of Saint Louis in Paris and with four years' training at Leipsic in Germany. LePrince came to the United States and while living in New York in 1886 received U. S. patent No. 376,247 on a device for producing motion picture illusion. But LePrince did not build a machine and reduce his invention to practice. A machine constructed literally on his patent specifications would not work. He went on with scientific affairs and in 1890 was living in Leeds. England, when he went to France to visit a brother living near Paris. On September 16, 1890, he took train for Paris, to return to England. He was seen entering the train as it pulled out of the station. He has not been seen since. It was not until five years later that motion pictures were projected on the screen. TO catch step with the next important phase in motion picture development we must turn to the fall of 1894 again, when the Edison kinetoscope peep shows began to attract attention on upper Broadway in New York. Among those who saw the little pictures in the box was Henry Norton Marvin, a technical man, with an eye to invention. Marvin had some years before been on the Edison technical staff and by interesting coincidence was the assistant of William Kennedy Laurie Dickson, when Dickson was the chief of the testing laboratories for Edison — all this in years before Edison's motion picture experiments. And since he is to appear so often and importantly hereafter in this history, it is well to take measure of Marvin now — a great, tall handsome person well over six feet, with the sort of commanding presence that bankers have more often than inventors. Sharp brown eyes, but back of them the relentlessly efficient mental traits that Arthur Brisbane says only blue eyed men have. With this a deep round voice and a disposition to listen a great deal and say as little as convenient. A graduate of Syracuse, a one-time instructor in science at an upstate preparatory school, a researcher of practical aims. There you have the figure of the man who perhaps more than any other single person shaped picture destiny for nearly twenty years. At the period under consideration Marvin was the senior member of the Marvin & Casler Company of Canastota, N. Y., a concern devoted to scientific work and experimental machinery. Herman Casler has also been with the Edison interests at Schenectady. Considering the kinetoscope as a piece of machinery Marvin reflected that there was a lot of it and a vast deal of complication to produce the small result of the picture seen under the magnifying glass in the peep show. The kinetoscope seemed to be in demand. Here was an opportunity to invent something for a ready market, a better device than the kinetoscope. With this idea in mind Marvin picked up a street vendor's toy, a little collection of m*> SHANNON DAY Playing the vamp role in "The Man Who Had Everything." Miss Shannon Day is an enthusiastic user of Neet. Midsummer Daintiness! 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