Variety (Jun 1930)

F I I- I. 28 V A R I E T Y THE HISTORY OF FIRST NATIONAL By S. Charles Einfeld Under the title of First National Exhibitors Circuit, Inc., First Na- tional Picture, Inc., was founded April 26, 1917. Its first oflace was opened In two small rooms at 18 Sast 41st street. New York, with an office staff comprising four members. Now, with the unlimited support of Warner Brothers, the company stands among the most influential motion picture organizations in the world. In 1917, the proposed circuit, supported by such men as Spyros and Charles Skouras, Robert Lleber, Samuel Rothafel and other prominent exhibitors, nuniberlng 26 in all, was considered a daring Innovation. History shows that the foresight of these showmen was destined to lead to many Important advances in the production and distribution of motion pictures. Good Pictures The basic idea of the organization, later known as Associated First National Pictures, Inc., was to assure a supply of good picture material from week to week. From 1917 to date. First National has lived up to its aim. In many InstAnces, It has taken the lead In developing new lines both in the matter of making pictures and in their distribution. The vital necessity 13 years ago, as It is today, was the creation of a steady supply of genuinely strong attractions. Immediately after thei alliance of the 26 leading exhibitors covering all parts of the country, it was necessary for the organization to procure a really big attraction with which to launch itself. At this time, it was Warner Brothers who gave First National the op- portunity of achieving the success which followed in later years by per- mitting the company to release its great production "My Four Tears In Germany," by Ambassador Gerard. It is interesting to note that without this Warner Brothers' picture, or one of equal importance, it would have been difficult for the newly organized company to win the confidence of the country's biggest ex- hibitors. Also memorable. In First National's first year of'activity, was the release of "Tarzan of the Apes," and the famous Charlie ChapUn Million-Dollar Contract which brought, as Its initial contribution, the; noted comedian In "A Doer's Life," generally conceded to be a comedy classic even now. With "My Four Tears in Germany" as the cornerstone of the organ- ization, and with "Tarzan of the Apes" and the Charlie Chaplin Million Dollar Contract as additional blocks In the structure, the First National group won immediate recognition as a new and vital factor In the picture world. Carrying on from this auspicious beginning. First National delivered Charlie Chaplin In "Shoulder Arms," and then "Pershing's Crusaders," which swept the country on account of the patrioilc fervor following America's entry into the war. In the same period, Mary Pickford and Norma and Constance Talmadge were added to the roster of First Na- tional stars. "Daddy Liong LiOgs," "The Hoodlum" and "Heart o' the Hills" were among the Pickford contributions which'delighted the picture fans of the day. Operation* Changed, Despite the success of the First National product, a difference of opin- ion as to its handling arose among the original founders. In the fall of 1919, the situation was met; through a series of conferences resulting In the formation of Associated First National Pictures, Noveinber, 1919, trmj^ which executive power was vested in a committee of five trustees. This revision of the operating plan of the organization is typical of the attitude of the company throughout its career. .Always there has been a direct facing of vital Issues followed by action .placing the policy In accord with changing conditions. As another tangible evidence of the strength of the growing organization, Charlie Chaplin In "The Kid," which made Jackie Coogan a star, was released.' Month by month, the prestige of the company increased until the pro- gram Included productions made by such outstanding directors as-Mack Bennett, Marshall Neilan, Allan Dwah, Maurice Toumeur, J. Parker Reade, Jr., Thomas ihce and Frank B.orzage. A number of splendid pic- i tures resulted from the creative talent of these leaders and the entire I Industry was benefited by the box office Importance of their produc- ' tions, enlisting the interest of dlscrimina.tlng; audiences that previously : had held aloof from motion pictures.*^Without at any time Jeopardizing its financial stability. First National always has recognized the romantic elements of the showmen's business &nd the need for a lively Imagina- tion in bringing vicarious glamor Into the lives of millions of people. Year 1921 Shows Progress The year 1921 brought important additions to the First National pro- gram. Including "Peck's Bad Boy," starring Jackie Coogan, and "Tol'able David," the first Photoplay Gold Medal Winner, which established Richard Barthelmess as a star. In the same year, First National defied tradition in buying a foreign picture and a costume play at that, with an unknown star. The picture was none other than "Du Barry," directed by Bmst Lubitsch, which was renamed "Passion" and introduced Pola Negri to American audiences. *7assion" was the first picture to be held over for three weeks at the Capitol theatric, Nefw York. In this Instance, as In many others. First National was ready to take a chance In following the rainbow of possi- bilities. In 1922, conditions had changed. It became. apparent that to ensure good product and to continue to serve Its exhibitor accounts with a steady supply of outstanding pictures, the organization must control its own producing sources. Because of this need, there followed an Im- portant step in the company's march to the front, the launching of Its own producing organization with studios 6o the West Coast. These studios were built at Burbank, Calif., and were responsible for the development of a new centre of production activity and a certain supply of reliable box office pictures. Since the building of these studios, the little town of Burbank has become a recognized motion picture colony similar to Hollywood and Culver City. The first year of production brought successes still remembered, Dorothy MackaiU In "Mighty Lak' a Rosd," Colleen Moore in "Flaming Touth," starting a vogue of flapper pictures, and Corinne Griffith In IBlack Oxen." Then in 1924, came "The Sea~Hawk," recognized as one of the great est pictures of its day; als^ "Anna jChrlstle" with Blanche Sweet In the title role. In the Foreign Market While First National pIo^res^^wg^^Ngalning in popularity throughout America, the foreign marketWasyoemg^teadily, developed with branches throughout Europe. At that tijne, ym South American countries were handled from New Tork. whereas Canada was made part of the do- mestic territory, as It is today. V As distribution facilities were Improved during 1923-24-26, the produc- tion forces of First National continued to function with pictures of ex- ceptional box office quality and stars of dependable drawing power. About this time, the company was marketing Richard Barthelmess in "Classmates" and "Soul Fire"; Frank Lloyd's "Winds of Chance," and \ second version of "Quo Vadls," made In Italy and far surpassing any other Italian importation. Eastern Production With the West Coast Studios running smoothly. It was decided in 1924 to produce In the East as well. The old Blograph Studios were brought up to date an^ .production in them resulted in a number of fine pictures, with Mlltoi] SUls, Diorls Kenyon, Dorothy Mackalll, licon Errol, Mary Astor,U.oyu Hughes, Ben Lyon and others In the casts. At the'expiration of two years, the Burbank Studios had been enlarged to such an extent it was decided to again concentrate production on the West Coast. The most Important production of that period was "The Lost World,** • pletnr* bt prehistorle Iif«, introducing 'dinosaan and kindred beasts. This picture was another instance of First National's originality and resounefiilness In bringing to the screen • production unlike anything ever previously attempted and utilizing the most cogi- plicated and IngenloQs devices in the presentation of prehistoric aiilmals. A New Era In 1927, Just 10 yearn after the founding of First National Pictures, the Industry faced the end of one era and the beginning of another. During this momentous year, when the notes of Vitaphone were bC' ginning to be heard In the land, First National came out with "The Patent Leather Kid," one of the finest of Barthelmess' pictures, and "The Private Life of Helen of Troy,^ an unusual treatment of John Ersklne's best-selling noveL Although many were skeptical as to the lasting quality of Vitaphone, and even though sweeping successes scored by silent pictures continued. It soon became apparent to wide-awake showmen that speech on the screen was the next great step In the progress of motion plcture0< ; At this critical tlme^ First National' was completing "Lilao Time," which had been made In silent form, no talking facilities being available at the Burbaiik plant. The release of .^Tillac Time" came at a crucial moment. To give this elabpiate production Its' fullest value, First National resorted to'a sound accompaniment, including a theme song and "JeanninOb I Dream of Lilac Time," became the outstanding song hit of the year. Turning of the Ways "Lilac Time" marked the turning of the ways. As a producing organ- ization. First National was faced with the necessity of making talking pictures, owing to thei marvelous success scored by T^amer Brothers through its Vitaphone productions. The Burbank Studios, equipped with every device for the production of silent films, were unprepared for the new development It was at this period in the company's history that Warner Brothers gained control of First, National Pictures and with- out reservation, gave this company access to all. of their-marvelous talk- ing equipment^ without which the company, which had been in the fore front of prodactlon for 10 years, would have been in ai serious pre- dicament. The picture^ "Tht jBarker," which represented • a huge Investment by First National, was nearlng completion In; silent form. The new In- terests'took hold of this production and by one of the most remarkable mechanical feats ever accomplished In this Industry, relaying dialog over wires from the First National Studios to the Vitaphone recording plant In the Warner Studios, a distance of five miles, made It possible for First National to equip rrhe Barker" with dialog .for practically im^ mediate release. Warners to the Front This was the initial First National production to contain dialog and was made possible oiiy by the whole-hearted co-operation and me- chanical resourcefulness of First National's parent company. The first all-dialog picture, which First National produced under the direct back- ing of Its' new sponsors, was "Weary River," starring Richard Barthel- mess and released In 1928. This production was an even more astounding accomplishment than the making of "The Barker," because In this in- stance. It was necessary to relay over wires the dialog' fdr an entire production. Yet more recent history of the company brings to mind such popular pictures as "His Captive Womian," "Paris,7 the firbt First National picture to contain scenes In color; "Drag." and "No, No, Nanette," which was entirely in color. Throughout its memorable career. First National always has had the respect and backing of thie. leaders In the miction picture field, but never has the bompany enjoyisd such fortunate conditions as have existed since Its alliance with Warner Brothers, bringing practically unlimited re- sources at the critical moments In the company's caieer. The benefits of this association are being made apparent each week In pictures such as "Son of the Gods," "Sally," "Song of the Flame" and even greater productions already completed, such as "Bride of the Regiment" and "The Dawn Patrol." Studios Enlarged With the assistance of the Warner Brothers, the Burbank Studios have been enlarged and Improved with the Installation of the latest ap- paratus needed for the perfect operation of Vitaphone. Many new buildings have taken form on the First National lot. At the present time, after an Investment 6f over $5,000,000 in Improvements, the First National. buildings stand as the flneit example of studio construction. New stars of both the stage and screen have been added to the First National roster, including. Marilyn Miller, Douglas Fairbanks, Jr.. Loretta ^oung, Otis Skinner, Bemlce Claire, Alexander Gray, Sidney Blackmer, Joe B, Brown, Llla Lee, Fred Kphler, Jack Whiting. Frank McHugh. Joe Frisco and Edward O. Rohlnson. Through Its association with Warner Brothers. It was possible for First National, to gather a group of the foremost musical composers, assuring the creative work of such famous leaders In the musical world as Jerome Kern, Otto Harbach, Oscar Hammerstein n, Slgmund Rom-- l>erg, Eddie Ward,-Al Dublin, Joe Burke, Al Bryan, M. K. Jerome, Her- man Ruby, George Meyer, Grant Clarke. Harry Akst. Bobby Dolan, Walter O'Keefe, Archie Gottler and Sidney Mitchell. The leading music publishing houses also have been made available through Warner Brothers. With every technical facility at hand, with an Impressive array of artistic talent Including players, directors, authors and composers, with the production rights to many of the outstanding plays and books of the day and with the doors of the finest theatres in the country open to its product. First National is stepping Into what promise to be the most glorious pages of Its long and honorable history. Warners and Radio (Continued from page 3) be planned, made and sold under one central organl2atlon fully equipped with all the necessary fa- cilities for such broadcasting, in- cluding talent, music, recording and reproduction. "Raymond Boat, who originated and perfected the method of elec- trical transcription, will continue as president of National Radio Adver- tising;. This organixatloa Is pri- marily brokers of radio station time In which field It has achieved na- tional leadership. It produced the first electrically transcribed pro- grams on the air, known as So-a- Tone Broadcasts. Electrical tran- scription Is past the experimental stage and Is now a recognized fea- ture of broadcasting. Radio stations generally accept these recorded pro- grams as on a par with direct voice programs. Wide Broadcasting "National Radio Advertising has at Its service all the Important broadcasting stations in the United States as well as several stations In Canada and one In Honolulu. "Electrically transcribed broad- casts — broadcasting from records Instead of from the living voice—Is Identical with chain or telephone wire broadcasts save for the one difference In the vehicle of trans- mission, records being used In broadcasting such programs Instead of living persons. "Commercially, this offers some new and tremendous advantages to (he radio advertiser, in that he may select stations that suits his distri- bution requirements, that his pro- gram can be released simultaneously at the choicest evening hour in any time zone, and not be heard at 9 o'clock in New Tork and at 6 o'clock on the Pacific slope. "The advertiser may also have his program broadcast from a major or a secondary station in any territory according to the demands of the marketing area with which he is concerned." Rapid Progress (Contlnned from pace t) Vitaphone talldng picture^ are not resting on their laurels <w on their good fortune In having the fore< sight to bring talldng pictures to their present position. They at* putting forth every ounee of energy in their four, huge studios In Holly, wood and Brookljoi, which Instlto- tlons cover over 126 acres of ground, with over SO completed stages and IS more under construction. We have continually In our em« Ploy 260 electrical engineers, as mo. Uon pictures are a step further la advance than wwe the motion pIo> tures of Just three short years agot We also have 100 writers who create, over 60 directors, over 760 people in our gigantic film labora. torles, and in the making of Vita- phone records employ another 200 men. All in all, these motion picture plants represent a complete city In themselves, having a working staff varying from 6,000 to 10,000 people^ ^ No stone wUI be left unturned to give the public that which provides entertainment and education as welL No Longer Just "The Lot" At the beginning of Vitaphone^ the unique experiepces encountered by actor and director were tunus- ing. This Includes-our own studloaw where the future of the talking pic- ture was a foregone conclusion, aa well as the others. It is no longer Just a motion pic- ture studio, or "the lot," as It was commonly called. Today "pictures" is a business of intelligence, a busi- ness of better understanding, a business of the better thinking per- son. The creation of Vitaphone has brought to our fold hundreds of people from other walks of life to further develop the art of the talking picture. Warner Brothers has blazed this trail, and has placed the motion picture industry on a higher level than It has heretofore occupied. Therefore, with this opportunity at our door, it Is a firm conviction that our company will continue on the higher plane of worth while en- tertainment. We assure the people who have made our success possible that It Is our aim and ambition to remain In a position In the motion picture Industry that will be a credit to the Industry Itself. Vita's Start (Continued from page 10)' as perplexing. In-those days there was no such thing as a traveling microphone. We frequently used two or three microphones on a set and the artist, having finished re- cording through one. would have to move to the next one before resum- ing recording. Early Theories With surprising rapidity, rules governing the length of camera shots grew up. rules incidentally which do not hold good at all today. For example, if an artist began to sing In close-^up It was thought inadvisable to out into a long shot, because, at that time, the volume of sound remained the same and the thought was that It would be un- natural to have a figure' suddenly diminish in size, yet continue to sing in the same volume of voice. It is interesting to note that this Is frequently done today and that audiences adapt themselves readily to it Camera lines were another be- wildering restriction that taxed the Ingenuity of our engineers. Now when the scope , of the microphoned camera Is almost limitless. It Is hard to thln'.£ back to the time when there was no such thing as stopping the recording because the temperature of the waxes was so all important. Many will remember an early Vitaphone number In which Martl- nelll sang the number from "Faust" wherein the elderly alchemist Is transformed by Mephlstopheles Into a young man. With a lap dissolve, ar. Impossibility at that Ume. this seemingly simple problem was ac- tually so complex that work on that particular presentation was held up for months until iti difficulties were untangled. Nothing illustrated better the whirlwind rate at which Vitaphone has advanced than to think back to those days that are only four years behind us. And in spite of the wonders accomplished up to this time, I believe that the next four years will be almost as remunera- tive of technical improvements.