Picture Play Magazine (Sep 1921 - Feb 1922)

Advertising Section 99 The Selig-Rork two-reel dramas, at this writing, have been acclaimed by the critics as the necessary relief to the overflow of bad features. The biggest theaters in the country, such as the Capitol and Strand, New York, are showing them with Chaplin, Keaton, or Lloyd comedies for a novel evening's entertainment, and they have met with flattering success. No wonder ! Imagine allowing a two-reel drama such an all-star cast as Lewis Stone, Wallace Beery, Ethel Grey Terry, William Desmond, Jack Mulhall, and many others. And the stories filmed are from the vast Selig library, such authors as James Oliver Curwood, E. Phillips Oppenheim, Randall Parrish, Sir Gilbert Parker, Hallie Erminie Rives, B. M. Bower,. Winston Churchill, Harold MacGj»th, Bertrand Sinclair, Salisbury Field, General Charles King, Robert Hichens, Clarence L. Cullen, Mrs. Otis Skinner, and others. Thus I close the last page of the quarter century of romance of the entire life of motion pictures, that of Colonel William N. Selig, who for twenty-five years has unceasingly labored for the progress of his beloved art. What will the next quarter of a century bring forth? Will it produce another man who will do as much for motion pictures? Let us hope so. But in any event, the minuteman is starting anew on the next lap. Here's to the Brave Continued from page 48 glue and paper. It isn't by any means a soft thing to be hit with, but it is a good deal softer than glass. But in this scene the one fake bottle stood among a number of real ones, and when the time came to hit Beery the excited actor who was to make the hit grabbed the wrong bottle and hit hard. Beery went down and out for an hour. These might be regarded as accidents, only they happen so often they may be classed as hazards of the profession which every actor knows he has to run. Sometimes the hazard grows out of altering an accustomed thing to something especially designed for the picture. Wallace Reid is a marvelous auto driver. In almost every picture he makes there are real hazards, and many of them. When they were making "Excuse My Dust," a race was run along the old way to San Francisco, which runs right straight through Hollywood out Cahuenga Avenue. Wally followed the exact route from the Plaza in Los Angeles. This story, however, was supposed to be laid at a time when this particular roadway was still pike or macadam and not Warrenite or asphalt as it is now. Wally takes corners at the Speedway or on asphalt like a racer, and when he got to the' Corner of Hollywood Boulevard and Cahuenga Avenue it never occurred to him that the two inches of sand laid by the director to insure realism in the picture was going to do anything to him or his car. He just forgot about the sand, turned as he always does, and the excited populace, watching, saw in terror his car turn round twice entirely and fetch up at the far curb. Wally was still in it and uninjured, but almost mobbed by the crowd, who wanted to make sure he was safe. Had the road been as usual the turn would have gone all right. And often — honest I am going to stop soon — the collapse of materials makes a very nice hazard. In making "The Cottage of Delight," a King Vidor production, Lloyd Hughes had to shoot some rapids along the Truckee River. This was dangerous enough, but after going through successfully once, it was necessary to make a second shot. Hughes was offered a double, but he preferred to do it all himself. Things went very well on the second trip, when suddenly the raft, held together by nails, collapsed under the strain, and Hughes and the tangle of lumber were swept into the waters whirling about the rocks in the river. Director, camera men, and helpers started to rescue Hughes, but, not finding him, felt certain he had drowned. But Hughes was on the bank, in the thick underbrush, nursing two severely lacerated legs, a black eye, and various cuts and bruises. Risk, hazard, danger, seem to be the order of the day in motion pictures. The serials and the comedies have the most, but the straight features, as I have shown, have so many they run a close third. You may read that Gloria has a double whose ankles are photographed for hers, but when it came to the lion's paw it was Gloria who took the chance. There are fakes, and there are doubles, trained acrobats who do things impossible without years of training. But in addition there is a big streak of bravery and daring running right through the ordinary actors and actresses, a daring which enables them to take the most extreme hazards just as a part of . the day's work, or, if you like it better, as a part of the picture; Won't you join with me? 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