Categoria: Cronologia 1912

Il matrimonio di Tartufini – Pathé 1912

su da theain Cronologia 1912, Film
Matrimonio di Tartufini
Una scena del Matrimonio di Tartufini

Scena comica di J. Berr de Turique, interpretata da Prince e dalla signorina Diéterle.

La famigliuola Tartufini sarebbe una delle più felici, senza il carattere nervoso della signora e lo spirito di contradizione di Timoteo. Due amici di casa, ritengono opportuno intervenire confessando a ciascuno dei due sposi che il loro dissidio dipende da una malattia di cuore di cui è affetto l’altro congiunto. In seguito a tale confidenza, i due sposini si compatiscono per qualche istante e poi da capo come per lo innanzi. E avendo scoperto lo stratagemma dei loro amici, l’inferno coniugale scoppia terribile…

Ma improvvisamente i due coniugi provano delle palpitazioni… La malattia del cuore? … Telefonano subito al loro medico, ma per fortuna è stato un falso allarme: Timoteo dovrà prendere qualche doccia e la signora dovrà… preparare un corredino per il futuro erede.

Produzione Film Pathé, m. 245 ca.

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)