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Archivio del Cinema Muto - Silent Film Archive

Prominent english actors in pictures

su da theain Cronologia 1912, Personaggi
Sir Herbert Beerbohm Tree, Bain News Service Wikimedia Commons
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

su da theain Cronologia 1912, Produzione

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, safety 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 severely 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

su da theain Cronologia 1912, Produzione

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)