Picture Show Annual (1929)

Digitized by the Internet Archive in 2015 https://archive.org/details/pictureshowannua00amal_4 {Fox.) Gloria Swanson changes her pertonalil^ with every film she makes. ‘ Sadie Thompson ” is one of her latest Photo ; Iroini ChiJno0 John Gilbert, whose work as the Russian prirtce in “ His " Hour first brought him into far-flung fame, returns to a Russian role in his latest film. The Cossacks. Others irtclude “ Twelve " Miles Out, and “ Flesh and the Devil. Pkoto : Ruth HutHet Louise / Photo : Cent Robert Richet ^ola cNe^ri Princea Pola of the Screen anJ Society, tnhoae smouldering eyes and sudden i flashing smile are seen at their best “ % in The Secret Hour," plara M io bring to k the screen the life M k Rachel, the of great W i i \ French tragedierme. f Photo ; Irving ChiJnoff oMarion Davies, as the screens Phabe Throssel, the shy, demure heroine of Barrie's ** Quality Street, which marked a distinct de- parture from the sprightly roles in which she won so rrmch fame. Donald Colman, f>tro of many a romantic drama such as The Night of Love, “ The Magic Flame,” ar\d the screen version of Baroness Orczy's love-drama of Old Spain, * Leatherface," ai he appears in the last-rrtentioned film. Photo : Kenneth Alexander •V — — Picture Show Annual 9 Members of ihe old Triangle-Fine Sir Herbert Tree, Owen Moore, Arts Company. Reading from left and Wilfred Lucas. Seated, the to right, in the back ’’ow are i/I the celebrities are Douglas Fairbanks, Dorothy Gish, Seena Owen and Bessie Love, Constance Talmadge, Norma Talmadge. In the middle Constance Collier, Lillian Gish, row, Bobby Harron, Harry Aitken, Fay Tincher, and De Wolf Hopper. 'he history of the moving Perhaps one of the most T pictures reads more like MOVIES astounding facts about the some tale in the Arabian cT'^ary Bickford’s First Film pictures is that with the Nights than a record of fact. Screen Salomes — Colleen cMoore world’s books to choose from so amazing is the progress in Slapstick Comedy there is actually getting to be that has been ‘made in the a shortage of stories suitable past eighteen years, which is roughly the time when for screen treatment. the picture play began to be a real force in the world of Already the screen is making its own stories and public entertainment. Contrast those flickering films soon we shall have a storehouse of tales which have a real menace to the eyesight—with the almost perfect never appeared between the covers of books, and dramas, productions of to-day. Compare the dingy, draughty comedies, and farces that have never been played on back-street buildings in which they were shown with the the stage. At the moment of writing there are few, if picture palaces of to-day, artistically-designed theatres any, of the screen’s own stories that can be called with huge seating capacity and scientific appointments, literature, but he would be a very unimaginative man the last word in comfort, which are to be found in every who would say that the screen will never develop a city and big town all over the civilised world. Tliink literature. of the magnificent orchestras of these modem picture What a gigantic achievement this will be ! What an theatres and bring back to mind the cracked piano extraordinary turn of the wheel of Time. But what man, which formed the sole musical accompaniment to the thirty odd years ago, would have dreamed that plays pictures in the early days, and more wonderful still, would be seen through the eyes performed by players think of the Movietone which supplies its own music who did not speak ? Even the inventors and improvers on the edges of the film. of the early cinema which showed a train coming into B 1 10 Picture Show Annual a station and other similar subjects, would have been the first to laugh at the idea that the screen would ever become a rival to the stage. That astute judge of entertainment value, the late Sir Augustus Harris, who booked the Theatregraph from the inventor, Robert W Paul, as an attraction for Olympia in 1896, had so little faith in it, except as a novelty, that he told Paul it would not run more than a month. Paul had even less faith in his invention, for he confessed to Harris that he had never even thought of it as a form of entertainment. It will be news to most people that this same Olympia, of London, can claim to be the first picture |>alace, in that it was the first building in which a motion picture was shown as a complete entertainment. The First Picture-Puy To Robert W. Paul stands the credit and honour of “ having produced the first picture play, The Soldier’s Courtship,” which was made on the roof of the Alhambra Theatre, and shown inside that building. It is a sad, but interesting fact, that at one time Paul not only supplied America with films, but also controlled the world’s cinema markets. To-day, British films are fighting for a place in those markets. Norma Talmadge's pro- One of the most interesting r fessional debut before . .i i • . t any camera, at the age features in the history of the posing of fourteen, was pictures is the changed status of coloured song slides. for . , , This is a reproduction the actors and actresses. In the of one of them. early days of the Vitagraph and the Biograph studios it was Three screen Salomes. In the top circle is Nazimova in her much-criticised interpreta- tion of the role ; in the circle below is Theda Bara in the earlier film, and at the left is a scene from an ambitious olden-time pro- duction, with a heart-clasping Italian as Salome, Florence Turner seated holding the wine glass, and Ralph Ince as John the Baptist. Picture Show Annual 11 thought a disgrace by stage people to be associated with the screen, and most of them who followed both callings “ " only took work at the studios when they were resting from stage engagements. Also, most of them played for the screen under another name so as to keep their shame a secret from their friends. So far as the Vitagraph and Biograph were concerned, this change of names was not necessary, for the actors and actresses were not thought to be of sufhcient importance to have their names on the pro- gramme. The proprietors in those days thought more of the machine than the man. There were no stars. An artiste might play hero in one picture and be cast for a butler or chauffeur in the next, and it was not uncommon for the artistes to play two or three parts in the same picture. Mary Pickford and Norma Talmadge, when girls in their teens, played old women occasion demanded. It was money, or rather the lack of it, that forced these early players from stage to screen. It is questionable if one of them really liked screen work or believed there was a real future in the movies. Even David Wark Griffith, the first director with big ideas and the man who has done more for the picture play than any other in the profession, had little faith in it when he left the stage for the screen. His wife, in her most entertaining book, “ When fhe Movies Were Young,” tells how she and her husband Uncle Tom’s Cabin " has been twice made for the films. The famous incident of the death of Little Eva. which wrung sobs from ui long ago, is depicted above in the modern version, with Virginia Grey as the angelic child, and at the left, the scene from the first film. Carlyle Blackwell is seen weeping into his handkerchief, and Florence Turner is kneeling. “ In the circle is Our Mary " in a icene from “ her first picture, The New York Hat.” She was very plump in those days, as those who saw this film will remember. 12 Picture Show Annual debated and pondered for hours as to whether Griffith should leave the pictures and accept an offer to play the villain in a stage play for forty dollars a week. At that time Griffith and his wife were playing before the camera for five dollars a day (when working). Griffith earned extra money by writing plots for cinema plays at night, but even with this overtime, it was rare that the united wages of the pair came to forty dollars a week. “ Of course, if this movie thing is going to last and amount to anything,” said Griffith very dubiously. “ If anybody could tell you anything about it, we could afford to take chances.” Such was the great D. W. Griffith’s idea about the future of the pictures at that time. And it was only because Mrs. Griffith was comfortable in her little flat and had a hunch that one day her husband might become a director, that Griffith stayed in the pictures. Had he not done so there would be a different history to record. Progress would have been made, but there would have been many more milestones between struggling obscurity and world-wide success than has been the case. Fay Wray and Erich von Stroheim in This lack of faith m the future of the film in “The Wedding the early days is the most amazing thing in the March," the latest of this famous history of the movies, and the same doubt wa; actor-director s pro- manifested m every stage of development.

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