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The Public Is Never Wrong
hardt, following the pattern of stage posters rather than gaudy movie bills. Then I hired a press agent and took space in newspapers and theatrical publications.
Frohman took it upon himself to bring distinguished persons to the showing, a task the more difficult because of the summer season— the date set was July 12, 1912— when most of them were at their summer homes or at the seashore. Frohman's reputation and enthusiasm were responsible for the many notables present.
Nearly every member of the audience had attended many stage performances of Sarah Bernhardt. Consequently there was a letdown feeling at the beginning, for her voice was sorely missed even though one knew it would not be there. It was evident that she was not at home before the camera and her gestures were more exaggerated than they need have been. The play dealt with the Queen's love for the Earl of Essex and scenes had been improvised to make up for the lack of dialogue. The difference between stage and screen was pointed up by the fact that at the end she took a curtain call.
The New York Herald's critic no doubt summed up the feeling of stage people when next day he commented on the film. "While it can add nothing to Mme. Bernhardt's fame that she has acted before the motion picture camera, future generations will be grateful to her that she has done so."
But I had seen— along with Daniel Frohman and others —a number of things which had not concerned the critic. To begin with, the audience had not been restless