Novel Use on Pictures, May 1912
Interior View of Car, Showing Screen
Interurban Railway Company Installs Projecting Machine on Party Car with Pleasing Effect.
Moving pictures have found their way into a new channel, this time being used by street railway managers for the entertainment of passengers who charter private cars for long runs. The Pittsburgh, Harmony, Butler and New Castle Railway Company, with general offices in the Diamond National Bank Building, Pittsburgh, Pa., and whose lines extend from Pittsburgh to Butler thence to New Castle, Pa., is the first road to use the moving picture machine.
The Party car, in which the first machine has been installed, is a rebuilt car, for this piece of equipment was badly damaged by being in a wreck not many months ago. When the car was rebuilt, General Superintendent Harry Etheridge conceived the idea that a Party car with a moving picture equipment would be a new traffic producer.
When the matter was given serious consideration, it resulted in the most modern motion picture machine on the market being bought and installed in the rebuilt car, it being attached to the inside of the roof on the rear platform. A small platform three feet square was built and high enough for the operator to stand upon to work the machine. When the trip is ended, the platform is lifted out of the way of passengers alighting, from the car.
The screen is in the front of the car, and directly back of the motorman. This is lifted and lowered just as a blind is in the home. It also serves as a blind for the motorman, no light penetrating through the screen, thus giving the motorman a clear vision with the headlight of the car.
The electric lights in the car are turned out after the trip has been started, and all is ready to start the reel. Window curtains are drawn, and the car then resembles a cozy theater on wheels.
Two reels of pictures are shown and these reels are never repeated. Reels of the longest length are demanded by the company, for the longest trip the car makes is about two hours—this while being operated as a special between New Castle and Pittsburgh.
When the car is returned to the barn after the return trip at night, the reels are forwarded to Pittsburgh on the first car the following day. When the car is to go out again, an advance order is sent to a Pittsburgh film exchange, and new subjects are then sent to the company.
It frequently happens that the company is compelled to send out two special cars on order for private parties, frequently 100 or more passengers forming theater parties from New Castle and Butler to Pittsburgh. On the trip from New Castle to Pittsburgh, say 50 of the party use the ”party picture car” on the “going trip” and then the pictures are run. Then on the return trip, those who rode in the regular special car change places with those who rode in the Party Car and for their benefit the pictures are run on the return trip.
The Party Car is becoming a most popular feature with the company, and is now in demand practically five nights out of a week. It is handsomely furnished, clean white linen being placed over the back of the high seats every time the car is chartered. The appointments of the car are perfect. Lunch and card tables are at the command of the passengers on the Party car, individual electric lamps being placed on each card table and at each seat for this purpose.
(Moving Picture World, May 25 1912)
Violet Hopson: It is character that counts
Is the Villainess Popular?
This is the question which we asked Miss Violet Hopson recently, knowing that in a great many of her films she portrays the wicked woman of the piece.
“Yes,” she said. “I think to a great extent men like just a little bit of villainess in every woman. And I am sure the reasons for this are, that one seldom finds a woman, who is a villainess either in fiction or real life, who has not a very strong personality and a great command of self. And men admire a woman with plenty of character, don’t they?
“Besides, women’s responsabilities have increased to such an enormous extent during the last four years, that the majority of us have become rather independent. This terrible war has in a great many ways improved woman’s position in this country; and I am certain that men who have been overseas for so long will consult their women-folk, and consider their advice far more than they have done in the past.
A Villainess is Often Sympathetic
“But I certainly do not think that the siren-villainess is at all popular. She is the type of woman who is out to cause trouble everywhere. On the other hand, the mild type of villainess has such a complete comprehension of human nature and its myriad frailties that she also possesses a wonderful sympathetic nature. And sympathy is one of the finest traits in any woman’s character.
“Many of the letters which I receive (and they number on an average 700 a week) are from the opposite sex, and a great proportion of them convey appreciations of my film work. I find my screen characters are popular because I usually portray women who are strong-willed, and yet not real sirens.
“The fluffy, irresponsible type of woman may be popular, and in many cases she may have offers of marriage; but I think our returned warriors are looking for the reliable, capable girls as mothers of the coming generation.
He Liked a Woman With a Temper
“One correspondent in a recent letter writes: ‘I’ve always liked villainesses, but I have really fallen in love with one – you can guess who it is. The only thing that worries me is that is that if I marry a villainess I’m afraid I shall not have enough money to buy all the wonderful clothes they always seem to require.’
“Another one writes: ‘I love to see you on the screen. I prefer girls with a bit of a temper and who can stick up for themselves, and your characters are just right – especially when you played Mady Launcelot in the Nat Gould racing story – she was my ideal woman. A thorough sportswoman yet so sympathetic.’
“As a rule tha villainess usually turns out to be a really good sort in the end; and I think this is so in real life too, for no matter how villainous a person may be, there is always some fine, dominant feature in their character that will make them well worth while. For, as Carlyle says, ‘Evil, in the widest sense we can give it, is precisely the dark, disordered material out of which man’s free will has to create an edifice of order and good.’ ”
Her Own Brand of Pictures
When not acting for the Broadwest Film Company Miss Violet Hopson intends offering to the world her own particular brand of pictures. She believes she knows what the public wants and likes. Her first production is to be a racing story, “For,” she says, “Our national sport is undoubtedly horse-racing. The fascination of the turf is inborn in us.”
(The Picture Show, May 17, 1919)
Links: Violet Hopson on Women and Silent British Cinema; Video From the Scottish Screen Archive: Miss Violte Hopson visits Dundee Fire Station (1920) 5′
Hearts of the World, May 1918
Lillian Gish and Robert Harron in a scene from D. W. Griffith’s Hearts of the World
44th Street Theatre – “Hearts of the World,” directed by D. W. Griffith. To quote the programme “Hearts of the World” is the story of a village, scenario by M. Gaston de Tolignac, translated into English by Captain Victor Marier and produced under the personal direction of D. W. Griffith. A great title “Hearts of the World” but hardly a great picture. To my mind, the one salient point lacking is theme. There is nothing about “Hearts of the World particularly worth remembering after leaving the theatre, except the remarkable histrionic ability of the Gish Sisters, Lillian and Dorothy, and the splendid performance of Robert Harron. True, Mr Griffith has portrayed village life in France before the war, and during the war, with the fine exactitude that characterizes all of his work, but with it all, not forgetting some remarkable battle scenes, the big idea, so essential to a big picture isn’t here. “Hearts of the World” is a charming love story, but one has come to expect more than that from D. W. Griffith’s past performances. However, there is plenty of bang and to go the picture, and , and with the added attraction of an exceptionally capable cast, and flawless direction, the picture is well worth seeing, providing the weaker sex are not squeamish about seeing the truth about the war, depicted faithfully and unadulterated. To quote the programme again, the following synopsis gives a fairly accurate description of “Hearts of the World”:
Two American painters make their homes in France. Marie, the daughter of one painter, and Douglas Hamilton, the oldest son of the other live next door to each other. A natural event is the love between the two.
The Little Disturber, a strolling singer, falls in love with young Douglas also. However, this affair does not develop to any disastrous conclusion.
Marie and her lover are in the midst of great preparations for their coming wedding when the Great War begins. Though an American citizen he gives his life to the service of France.
Marie and her family, left at home in the village, refuse to believe the possibility of danger.
The little French company, a part of the great army of France, however, are beaten back by the great German offensive. Then follows the overwhelming of the French, the bombardment and destrucion of the village. The scenes of the evacuation and of the distress and terror of the villages under the bombardment.
The latter part of the story takes up the village under the German occupation.
In this village Marie and the Little Disturber manage to drag out an existence at the village inn, now in possession of the Huns.
The story relates the suffering, privations and agony of the villagers in their captivity, relating also the preparations for the rescue of the village by the French, the massing of their troops, the intense struggle of the French soldiers to recapture the village and free their loved ones; and the prayers and hopes of the women and children of the village awaiting their deliverance, ascend from cellar and crypt in the stricken district.
Mirilo (Theatre Magazine, May 1918)
Prominent english actors in pictures
Sir Herbert Beerbohm Tree, Bain News Service Wikimedia Commons
English actors of rank have not yet figured upon the cinematograph films so well and so frequently as have those of other countries. This is being gradually changed, however, and there is no reason why such distinguished members of the British stage as Arthur Bouchier, Sir George Alexander, Martin Harvey, Forbes Robertson, Fred Terry, Robt. Loraine, Violet Vanburgh, Ellen Terry, Lena Ashwell and Julia Neilson should not become as popular with cinematograph audiences as they are with those who visit the ordinary theaters.
I hear in this connection that Sir Herbert Tree’s production of “Macbeth” is about to be filmed for the cinematograph and that the fee to be paid is $20,000. Sir Herbert’s “Henry VIII” has been on the cinematograph for some time. The fee seems enormous, but it must be remembered that all the scenery and fittings have to be transported to a daylight theater specially’built for this business.
(The Moving Picture World, 6 April 1912)
The European Market
New York, April 1912. While theatrical magnates in this country are becoming converts to the moving picture, there is at present a fierce and relentless war being waged against the moving picture, on the continent of Europe. The aggressors are owners, directors and managers of theaters.
In order to understand the situation abroad it must be borne in mind that many of the larger theaters are either supported or largely subsidized by the government. The government, therefore, has a direct and tangible interest in promoting the prosperity of the theater and in antagonizing every influence which threatens that prosperity. The resources of these governments
are practically boundless and their power to suppress any particular institution which harms or displeases them cannot be challenged on any constitutional ground. Fully aware of this condition of affairs, the theater owners of Austria, banded together in a powerful organization, have petitioned the government for the suppression of the moving picture houses within the
empire. The government has begun its warfare by intolerant and intolerable censorship and by drastic regulations affecting the seating capacity, safetv requirements, etc., of all moving picture houses. Storms and hard times are ahead for exhibitors in that part of the world. Scores of moving picture houses will be wiped out of existence and many more will be severelv crippled.
A similar campaign has started in Germany, and the entire industry in Central Europe will be seriously affected.
All these facts are of great importance to the American manufacturer who exports his product into the European market. It is well known that the European market has so far been a profitable one. In some instances American manufacturers have made more money on their European than on their American sales. The question occurs as to what they may be able to do to stem this tide of official disfavor. One way to do this will be the support of exhibitors’ associations in the countries
named. These associations are but of recent origin and their growth has been slow. Nevertheless they are a valuable nucleus of opposition to the arbitrary methods of the government. Unless a vigorous fight is made in the courts the damage to the European trade will be enormous.
(The Moving Picture World, 6 April 1912)
Movies and American Censorship
April 1912. There is a lot of shallow talk about our superiority to censorship. As a matter of fact an artistic censorship, com petently exercised, would benefit the industry. It would keep certain manufacturers, both domestic and foreign, away from big subjects, which they cannot handle. A dozen or more socalled features, pretendedly classic in character, are now on the market, when they would be much better in the limbo of forgotten films. These would-be classics harm not only the exhibitor, but work great injury to the competent and conscientious manufacturer, who is deprived of a subject, which he could have treated creditably. There are many great classic subjects still left for filming. If a company like the Milano undertake the cinematographic reproduction of them the result will be an honor to the industry and a profit to exhibitors. If on the other hand a cheap manufacturer with limited resources abd scant knowledge essays the task, the outcome will be a more or less laughable burlesque or parody. If we had a board of competent censors on artistic capability it would be easy to squelch the cockroach element.
(The Moving Picture World, 6 april 1912)
