Tag: storia del cinema muto

Queer Qualifications

su da theain Cronologia 1911, Produzione

Some of the reasons advanced by applicants for positions with Motion Picture stock companies to prove their availability are odd, to say the least.

At least three companies received a letter from a man who wrote that he was well fitted to play “sad parts” as his own life had been passed in the deepest gloom, and he knew he could “act pathetic” to order. Just to prove his point he gave three pages of generous size to his many woes. He didn’t get a job.

Another letter writer was anxious to get with a “film troupe” because his life ambition was to be a cowboy, and he was convinced that the cowboy in the pictures had the better time of it, since the night riding and contact with cows was avoided.

Unique was the writer who confessed that he liked to see his own photographs, the inference being that he wanted to see himself on the screen; while another argued his fitness for romantic rôles because  his feminine friends all applauded his love-making.

A jockey whose license had been taken away frankly confessed that he could keep his horse in any position the director decided, and could show others how to do the same; and a carpenter wanted to help build the scenery in the intervals of his acting, and draw double salary.

One dramatic actor actually obtained a position because he had been a hospital steward before he had gone upon the stage, and his knowledge could be utilized.

But the lady who offered as a bonus to tell the sad story of her life, and act it in the pictures, was turned down, as was the army private who created a sensation last summer by escaping from the U. S. Hospital for the Insane, at Washington, and marrying a girl he had been engaged to. He was released on court order, and pending this action he applied for a steady position, with his own romance as his first appearance.

A small Brooklyn boy wanted to act because he had read many stories about Indians, and another youngster urged that be possessed a sweet soprano voice that would aid in the effectiveness of church scenes.

A girl who had posed for a series of calendar picitures thought that qualified her for the moving sort, and another suggested that she was well known in her home town, and her engagement would assist in building up trade among its 5,000 inhabitants. Not many applicants realize that  acting ability is essential, and are surprised to learn that this is the first requisite.
(from The Motion Picture Story Magazine, october 1911)

Varie produzione cinematografica in Italia dicembre 1911

su da theain Cronologia 1911, Produzione

Il nuovo teatro della ditta Pasquali e C. a Roma

Non abbiamo dato prima questa notizia, per non contrariare la volontà del sig. Pasquali, che teneva, sino a completamento della cosa, al più assoluto riserbo.

La Ditta Pasquali e C. che in questi ultimi tempi – come dicemmo recentemente su queste colonne – fece progressi meravigliosi, riuscendo a piazzarsi fra le migliori manifatture, ha ultimato a Roma – in via Nomentana – l’impianto di un nuovo grande teatro di posa, al quale ha destinato come primi attori, la sig.na Mary Cleo Tarlarini, il sig. Alberto Capozzi e Tontolini; quest’ultimo per le comiche.

A Torino rimarrà – sotto la direzione del sig. Ubaldo Del Colle – la vecchia compagnia che ha già cominciato a lavorare, aiutata, se non dal sole, dalle 60.000 candele Westinghouse, ultimamente installate.

Con questo la Casa Pasquali e C. si mette di colpo in grado di dare una programmazione di prim’ordine, svariata e regolare, qual’è richiesta insistentemente da tutti i cinematografisti italiani ed esteri che nutrono una simpatia speciale per la produzione di questa Ditta, che seppe accattivarsi il favore del pubblico per le sue recentissimi grandi novità, del di cui successo non è ancora spenta l’eco.

Il 12 corr si è sviluppato un incendio, causa un corto circuito, nello stabilimento Pasquali e C., in via Savonarola (Torino), e nel reparto perforazione pellicole. Fu distrutta una certa quantità di pellicola vergine ed alcuni indumenti delle signorine addette a questo reparto, il tutto per un valore di circa 5.000 lire, coperte da assicurazione.

Fortunatamente il fuoco non ha danneggiato altri reparti e grazie alla presenza di spirito del personale, poté essere domato senza il concorso dei pompieri, così che lo stabilimento continua a funzionare regolarmente.

Ad iniziativa della Cines si stanno raccogliendo i gruppi delle famiglie dei soldati combattenti in Tripolitania, allo scopo di dare a questi un’immagine viva dei loro cari lontani.

Per speciali accordi con il Generale Caneva le cinematografie saranno riprodotte dinanzi alle truppe, le quali avranno così un’altra prova del grande affetto che l’intera nazione nutre per essi.

Gli ufficci di Amministrazione della Società Anonima Milano Films sono trasferiti alla sede del nuovo stabilimento alla Bovisa presso Milano

Picture-Players I Know

su da theain Personaggi
Elsie Ferguson 1914
Elsie Ferguson 1914

Some Reminiscences of Albert Kaufman, Studio Manager told to May Herschell Clarke.

Recently I had the pleasure of meeting Albert A. Kaufman, brother-in-law of Mr. Adolph Zukor, and co-worker with that great pioneer of filmdom. Mr. Kaufman has been associated with the motion picture from its earliest infancy in the days of the penny arcade, when, as series of jerky, crude photographs in a “twirl-box”, it first came into being.

Later, when Mr. Zukor, having seen and developed the possibilities of these penny arcades, converted them into the exhibitors end of the business, where he remained for five years.

Then, when the Famous Players Film Co. was formed – the Lasky was added later – Mr. Kaufman became, in 1913, manager of its studio, his connection with that organisation remaining unbroken since that time, except for two years which he spent in the U.S. army.

Memories of Mary Pickford

But it was of some of the famous picture stars who have come under his management from time to time, rather than of himself, that Mr. Kaufman chatted during the very enjoyable afternoon I spent  in his company, and what more natural than that he should commence with Mary Pickford?

“She was the first  big star who came to our company,” he said. “Speaking of her reminds me of one of her most popular pictures, ‘Rags,’ in which we encountered the only difficulty we have ever been unable to meet, and in this instance we were baffled by a dog.

“You remenber the canine actor in ‘Rags’? Well, he was a cur, and came from a lost dogs’ home in California, where we rescued him from the lethal chamber to play opposite’ Mary. He became quite a studio pet, and made his picture debut in ‘Rags’ successfully. At last we had got to the part where Mary leaves her country home to visit relatives accompanied by her dog. This scene was shot and then the dog developed hydrophobia and died! For the first time in our experience we, who hitherto had always been able to find a substitute for an actor could find no duplicate of this four-footed one, and so you saw the little heroine arrivong at her destination minus her pet, while an extra sub-title had to be inserted in which the great Mary Pickford was forced to own ‘On my way here my dog died.’ ”

Stars of the Stage

From the “World’s Sweetheart” it was an easy step to Marguerite Clark, and Mr. Kaufman related the history of her entrance into her film kingdom.

“Miss Clark had been a tremendous success on the legitimate stage, and it took us six months to persuade her that fame awaited her in pictures. In the end she consented to sign a contract to work but ten weeks a year for three years, so that she might devote her main time to the theatre, because she felt sure she would never be a success in pictures. She has been in them five years now, and has never been on the stage since that day!

“Elsie Ferguson was just as hard to convince as Marguerite Clark. When we forst approached her she was receiving a very high stage salary, was very popular, and was known as the best gowned woman on the American boards. She, likewise, never thought she would succeed in pictures, but eventually she was persuaded to sign a contract. She scored and instant success both in America and over here, but when she first saw herself on the film she almost broke down. Even then she felt sure she had no chance of success: she could not work nearly as naturally before the camera as on the stage, she said. Nevertheless, she remained in pictures, and look where she is to-day. And she, like Miss Clark, has never appeared on the legitimate stage since her film début.

These two instances I have quoted will show you how big artistes sometimes underrate themselves, being unable to foresee the public favour awaiting them.

“We are expecting Miss Ferguson over here soon, and she will then appear in the film version of Pinero’s play, ‘His House in Order.’ She is a very lovely girl, and still sets the fashions in America.

(to be continued)