Picture Play Magazine (Mar-Aug 1927)

85 Out by Prosperity of Hollywood noted for pictures produced on a snoestring, that the old days and practices have become just a memory. William Smith names; many, too, that have never been and never will be heard of. Its directors developed a speed and ingenuity which enabled them to climb high when the chances and the "breaks" came. Even some of our now-noted screen writers laid their foundations there. Three types of production made up the principal output of Poverty Row. They were called "quickies," "cooties/' and "cheaters." "Quickies," known to have been made in as short a time as five davs, occasionally, but not often, resolved into as good a product as that put out by the larger companies with all facilities at their command. A day or two in the studio, and the rest of the time on location in and near the much-photographed beauty spots of Los Angeles, and such a picture was finished. "Cooties" were just the cheap, job-lot pictures, in which players of no importance, or stars whose importance had waned, were cast. "Cheaters," the best bet of all, were made up of casts in which there was at least one well-known player, generally hired for one day and scarcely visible in the finished picture. This, however, mattered little to the producer. He had the name, would use it in his blatant advertising, and thus attract the crowds. Among the many pictures which emerged from the chaos of Poverty Row, "Salvation Hunters" was probably the most sensational in its success. This picture was made by Josef von Sternberg at a cost of about five thousand dollars, was sponsored by Charlie Chaplin, and was taken in hand by United Artists. It gained considerable favor as an artistic and very unusual piece of work. It was this picture which brought Georgia Independent producers have paid richly for Bert Lytell's services on Poverty Row. Helene Chad wick has retained her popularity by appearing in many quickly made films. Hale into fame. Opposite her played George K. Arthur, who has never since known the acute pinch of poverty that had haunted him up to that time. During the filming of "Salvation Hunters," according to a story which is now a legend in the industry, Stuart Holmes, playing the villain, refused to continue with his part unless paid in advance. There being the usual lack of funds. Von Sternberg donned Holmes' costume, arrayed himself in a mustache, and played the remainder, of the villain's role as a shadow, flashed onto a wall from off-set. This shadow idea turned out to be one of the high spots of the production. A short two years ago, Malcolm St. Clair, now a director of sophisticated films for Paramount, was holding the megaphone on Poverty Row. He received the yearly salary of two thousand five hundred dollars, something less than his present, remuneration for one week. He guided the actions of Elaine Hammerstein and Lou Tellegen in a seven-reeler called "After Business Hours." It took twelve days to complete this screen masterpiece. The Poverty Row films took from a dav to a month to make. Sometimes there was a scenario. More often not. Just a general idea, barely enough cash, and lo ! — a finished picture. When a high-salaried star was employed for one day, he squeezed a week's work into his allotted hours. Xo waits between scenes. Xo time for lunch. Quick changes of costume. Scenes and sets in readiness. Such things determined success or failure. On one occasion, a moneyed group had hired a star for a whole week. The player, who was to enter into his contract with one of the larger producing companies on a certain day, was particularly anxious that the production schedule be adhered to rigidlv. On location, George K. Arthur knew the however, a rainy day interrupted "filming and depinch of real poverty when ]aved production. The actor fretted and fumed, played in '-Salvation watching the sky for a possible break in the Hunters." Continued on page 106 Alice Terry first came forth in a film made by a fly-bynight company. he