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Influenza,, 1918Mm19

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Influenza,, 1918Mm19 Film History, Volume 17, pp. 466-485, 2005. Copyright T) John Libbey Publishing ISSN: 0892-2160. Printed in United States of America Flu season.. moving PcueWorld influenza,, 1918mm19 Richard Koszarski 1918 offensive, thereby affecting the outcome of the s World War I came to an end in 1918, succes- sive waves of deadly 'Spanish' influenza swept war, is duly noted. Frivolous activities, like the motion the world, the death toll far exceeding that picture business, are seldom even mentioned. inflicted by the war itself. In the United States But for film historians 1918-19 is a crucial alone, 675,000 'excess deaths' were attributed to the period for a different set of reasons. With many of the epidemic. But while the War would long be celebrated nation's key exhibitors already uniting in the First in song and story, and immediately recognized as a National Exhibitors Circuit, Adolph Zukor's produc- defining event in twentieth century history, the flu was tion behemoth, Famous Players-Lasky, prepared to almost too terrible to remember- 'America's forgot- counter with an exhibition wing of its own. The so- ten pandemic', as Alfred Crosby called it.' The for- called 'battle of the theatres' which followed was not getting came on very quickly. With the dead still warm pretty, with threats, intimidation, and (perhaps) vio- in their graves, the Moving Picture World's Kansas lence all part of a corporate plan to coerce the City correspondent reported that, 'The public is weaker exhibitors. As Mae Huettig put it, 'Descrip- quickly forgetting that there ever was an epidemic of tions of the period sound like a journalist's account influenza'. of war'.4 And not only was the relationship between While the Spanish flu never returned, histori- producers and exhibitors changing forever, but when ans have occasionally revisited the epidemic as a Zukor turned to Kuhn, Loeb to finance this spree, the way of addressing relevant issues of contemporary relationship between producers and bankers concern. In the past decade, books like John Barry's changed as well. The Great Influenza or Gina Kolata's Flu, inspired by Did the epidemic, striking at a crucial moment current debates surrounding immunology, public in this developing contest, affect the future of the health programs, and civil rights issues, have 'fol- American motion picture industry as well? Like the lowed the germs'.2 They tell a medical story which rest of the public, subsequent film historians seem focuses on medical researchers and their struggle to have forgotten all about it. Considerable attention to identify the infectious agent, care for the sick, and has been given to the economic and industrial me- develop a vaccine. They offer body counts and chart chanics of this struggle in recent years, but the flu the path of the infection, but are strangely silent epidemic is no longer identified as having a role of about other significant issues, especially the eco- nomic effects of the epidemic. 3 Disruption of such war-related activities as manufacture and transpor- Richard Koezarski's most recent book is Fort Lee. tation might be referred to, but few specifics are The Film Town (John Libbey/Indiana University Press), He is completing a history of film production in New given. General Ludendorff's belief that the influenza York during the 1920s and 30s. fatally sapped German troop strength during the final Correspondence to filmhist@aol,com Flu season: Moving Picture World reports on pandemic influenza, 1918-19 467 any consequence. This is revisionist history of a high Historians born long after the influenza epi- order, because earlier historians (and the reporters demic can hardly be accused of amnesia, but their chronicling the plague in the pages of trade journals inability to see the consequences of this disaster like the Moving Picture World), had no doubt that the (which was covered by dozens of articles in Moving effect of the epidemic was crucial. Picture World alone over a four month period) is The first generation of film historians, who had harder to explain. The excerpts which follow trace not experienced all this at first hand, tended to rate the just the progress of the epidemic, but the way in impact of the influenza epidemic much more highly which the most influential motion picture exhibitors' than those who followed them. Benjamin Hampton, journal chose to cover it. Rather than following the who played his own role in the battle for theatres, felt germs, the World chose to follow the money. It ran that the flu epidemic 'shook the industry to its very obituaries (of which those included here are only a foundations'. He remembered that the disruptions of small sample), but it also tracked the impact of the the war and the censorious agitation of 'Puritans' epidemic on the box office. were 'as nothing' compared to the epidemic. 'Stu- In its most virulent phase the epidemic broke dios closed entirely, or operated on part time, and out in Boston in September 1918 and rolled west- pessimists croaked that this was the beginning of the ward across the country, burning itself out in each end. '5 He quotes Walter Irwin's testimony to the locality in six or eight weeks, until essentially expiring Federal Trade Commission, during its anti-trust in- on the west coast in January 1919- Reports in the vestigation of Zukor's business practices, in which World indicate that a similar pattern was repeated in Irwin recalled having advised Zukor that city after city as the epidemic moved on. Attendance would decline on its own as the flu leapt through a Paramount could destroy First National if it community; audiences in San Francisco had already would go into each one of the First National fallen by 50 per cent before local authorities took any cities and build, or threaten to build, the finest action. Health officials would eventually order the and largest theater in the city, as the industry closing of movie theaters along with other places of had been through the influenza period, in amusement, as well as schools, churches and (more which all exhibitors had lost money and many rarely) stores. At first the exhibitors patriotically of the houses closed entirely for weeks. 6 agreed to go along with the closure orders, but as 'a A few years later Maurice Bardbche and week' turned into 'a month', they began to make Robert Brasillach, in The History of Motion Pictures, common cause with ministers and saloon-keepers, began their discussion of post-war American cinema challenging the logic of these decisions. Why not in a similar vein. 'The end of the war coincided with close crowded public transportation facilities, or de- a crisis in the American film industry. Most of the partment stores? Friction also appeared within this companies had undergone radical changes during front, because these closings were not uniform 1918. Towards the end of that year the influenza throughout the country. Some towns which closed epidemic swept the country; many of the cinemas theaters allowed churches to remain open, while closed, and it was difficult to get anyone to rent a Louisville, for example, closed theaters and 7 film.' churches but allowed saloons to operate. New York Lewis Jacobs, who as a boy of twelve saw the City never closed at all. epidemic kill 5,000 of his Philadelphia neighbors in Some theaters succeeded in having their a single week, says pretty much the same thing in quarantines lifted, while occasional exhibitors disre- The Rise of the American Film. Jacobs describes the garded the authorities and opened anyway. They revolutionary development of the film industry in the were arrested. When theaters did reopen business post-war years in a chapter called 'Big Business', was not always as good as expected, especially if a which begins as follows: 'In 1918 the movie industry resurgence of the epidemic kept frightened audi- was shaken by a serious loss of patronage because ences away. World correspondents from around the of the influenza epidemic and the absence of millions country predicted that many exhibitors would never of men at the front in training camps'. 8 But sub- reopen, while others seemed to be holding on just sequent histories (including one by this author), fail long enough to be 'swallowed up' by 'the first man to even mention the epidemic, much less assess its who offers them a profit on their investment'. That impact on the development of the industry. man would soon be coming around with a check. 468 Richard Koszarski 468 Richard Koszarski Towards the end of the epidemic the use of studio tried to insure their health by stringing bags of gauze masks - so common in photographs docu- camphor around their necks, while security desks at menting the disaster - spread to the theaters, or at other studios routinely sprayed every visitor with least tried to. Some exhibitors resisted masking their disinfectant. 'Everyone' seemed to have the disease, audience and orchestra ('a joke', one called it), pre- which was still killing between 3 and 10 per cent of ferring to seat the public in staggered rows, or even those infected, depending on what segment of the stay closed altogether. Others feared being labeled population one monitored. 'mask slackers'. Although exhibitors were reason- It is difficult to quantify the ultimate financial ably compliant in September and October, by No- impact of this string of events, although weekly re- vember and December their patriotic acceptance ports like these certainly offer clues. Seven weeks of was turning into exasperated defiance. Pushed to theater closings in Los Angeles, for example, must the wall, exhibitors were now standing on their con- have pushed many exhibitors to near bankruptcy.9 stitutional rights and appealing to the courts.
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