Volume III: Biographies

MOORE, W. Eugene, Jr. **

Actor, director (1912-1917)

Thanhouser Career Synopsis: W. Eugene Moore, Jr. was a well-known actor and director with Thanhouser during the 1912-1917 period.

Biographical Notes: W. Eugene Moore, Jr. (the "W." and "Jr." were usually omitted in publicity) was born in Annapolis Valley, Nova Scotia and was educated in Boston, Massachusetts and New York City. (The Jacksonville Sunday Times-Union, January 30, 1916, said he was a native of the South and hailed from Chesterfield, Virginia; this information is directly contradictory to contemporary directory listings.) He studied theology at Harvard Divinity School, but forsook the ministry in favor of his interest in Shakespeare and drama. In his stage career Moore appeared with Edwin Booth, John McCullough, Frederick Warde, Louis James, and Stuart Robson in Shakespearean plays, later starring for five years in The Burglar, followed by Diplomacy. For several years he was on the stage in Edwin Thanhouser's stock company at the Academy Theatre in Milwaukee. In the spring of 1911 the thespian was with the Harry Davis stock company and was seen on stage at the Duquesne Theatre in Pittsburgh, Pennsylvania in such productions as The Squaw Man and Quo Vadis. In August of the same year he played a role in The Dawn of a To-morrow at the Davidson Theatre in Milwaukee.

Eugene Moore's film career began with Thanhouser in November 1912, when he was hired as a director. From that time he played in or directed numerous films. In 1913, during a period when the affairs of Thanhouser and Majestic were intertwined, he appeared in a Majestic film, The Politician. Moore was primarily a director until he served as both director and actor in The Spartan Father. Earlier, he had played some bit parts in some films he had directed. Later, he essayed larger roles in his own films. He was with Thanhouser's Jacksonville studio in the spring of 1916 and was working in New Rochelle in the autumn of the same year. From at least 1913 through 1915 he lived at 35 Banks Street in New Rochelle. The New Rochelle Pioneer, June 3, 1916, announced that he was among nearly two dozen important players, directors, and cameramen who were dismissed by the studio on Saturday morning, May 27, 1916, as part of an economy move. However, he was soon rehired and remained to direct various later pictures through 1917.

A 1914 Sketch: The New Rochelle Pioneer, February 27, 1915, printed a sketch of the director: "W. Eugene Moore, director of Thanhouser Big Productions, who visualized for the screen such noted features as Joseph in the Land of Egypt, Cardinal Richelieu's Ward, Pamela Congreve, 'King René's Daughter, A Legend of Provence, and many others, and who is now directing Florence LaBadie in two reel productions featuring the star of The Million Dollar Mystery, is an actor of admirable force himself, and knows exactly what he wants and how to secure it. When 'Gene' strode the boards, the press said lots of good things about him. When Fred G. Conrad, producer and director of numerous popular attractions, put on Saul of Tarsus, the Histro-Biblical drama written by Henry Thorn Hum, the principal role of Saul was impersonated by Mr. Moore.

"Mr. Moore was a player who in the past had built up a great repertory of classic parts and had 'qualified' as one of America's best leading men. He came from that 'old school' where actors seldom saw their names in print save in connection with their professional achievements and gazed with wonder upon the array of ready stars that now passes across the American stage, stars that are the creation of the manager and the press agent, and whose vogue with the public depends upon some pleasing or unique personal attribute. The actor who received his learning in the school from which Mr. Moore graduated always gives us of their best, never sparing themselves, never underplaying a part and never allowing themselves to be tempted into extravagance. Their style is measured, melodious and weighty. They are an adornment to the stage and their work honors it, for they do that work with a singleness of purpose, respecting their calling and remembering its high traditions.

"Mr. Moore was born in Annapolis Valley, Nova Scotia, 'The Land of Evangeline,' but spent most of his early life in Boston, where he prepared to enter the divinity school at Harvard, his parents having cut out a career in the pulpit for him. But he early developed a liking for the stage, and gave up his theology for the study of Shakespeare and the legitimate drama. The late Thomas W. Keene gave him his first training in the hard school of experience, and he afterwards served with Edwin Booth, John McCullough, Frederick Warde, Louis James and Stuart Robson in Shakespearean plays. After this excellent training on the legitimate stage, he was starred for a period of five years playing Augustus Thomas' The Burglar. He then joined the Frohman Diplomacy company and played the part of Julian Beaucaire. He was for a time leading man with Robert Downing and then took a turn at the stock business, playing leads with the Alcazar and Grand Opera House companies in San Francisco, and later accepted a flattering offer from the Thanhouser Company of Milwaukee, where he remained for three years. Then followed the principal stock theatres in Philadelphia, Nashville, Toronto, Chicago, Pittsburgh and the Yorkville Stock Company in New York City. He has played over 1,000 different leading roles during his career, and in every respect he is a thoroughly trained and gifted actor.

"In November, 1912, he came to Thanhouser studio to direct, He has appeared in some of his own pictures while directing, and it is a wonderful testimonial to his art that Thanhouser's is the only picture company that he's ever been with. Backed by 30 years' legitimate experience, from actor, leading man and then director in stage and stock productions, he brought to the screen all the ripe experience and none of the crabbedness of the legitimate. All classes of work, drama, comedy, etc., receive the same enthusiasm that has marked all his work. Whether it is handling one character or a 'mob,' Gene is just as sincere and enthusiastic, and every frame of the production must be 'just so' or it isn't taken. It is a known fact that he gets the work done just as it should be done. Mr. Moore, who has handled some of the biggest productions ever staged, considers a one-reel subject, The Childrens' Hour, from Longfellow's poem, his best.

"He's an Elk and an officer in the local lodge, where his dramatic force is felt, and he's a New Rochellean, too, for he lives a short distance from the Elks' club house on Banks Street, and divides his recreation time between his well-stocked library at home and the good-fellowship at the club. Every meeting night finds him at the lodge, ready to do his share in building up the local organization. He's a good mixer, has thousands of friends, and everybody calls him Gene, an evidence of popularity."

A Jacksonville Interview: W. Eugene Moore was the subject of an article in The Sunday Times-Union, Jacksonville, Florida, January 30, 1916: "'Jacksonville presents many advantages to the producer of the motion picture,' said W.E. Moore to a reporter in the director's offices of the Thanhouser plant on Eighth Street. The photographic value of the light here is far superior to that of Los Angeles. You will notice in the photodramas produced in the Far West a peculiar hardness in the shadows; at many times a man's hat will shade and entirely obliterate his eyes and the entire upper portion of his face. This is caused by the lack of moisture in the atmosphere. Moisture diffuses the light and softens the shadows. In California it is sometimes necessary to go directly against photographic rules and face your camera toward the sun in order to avoid these hard shadows, but here, where the humidity is greater, this disadvantage does not exist, making it possible for us to take all day regardless of the position of the sun.

"'You also offer us a wider variety of scenery than any other place in America. In my next script, The Water Devil [working title for Her Father's Gold], it is necessary for me to show locations presumably in New York, Southern Mexico, and others in Florida. I have no difficulty in finding the locations, and I have found the people extremely courteous in extending the privilege of using their homes and places of business for this purpose. In the North, at this time of year we are troubled with that mysterious quality of photography known as 'static,' which renders film in which it appears practically valueless. Many people advance theories as to the cause of this phenomena, but the experts only know that it exists and it is more frequent in cold weather. We find very little trouble with it here.'

"Mr. Moore is himself a native of the South, hailing from Chesterfield, Virginia, where he maintains a residence. He has been producing for Thanhouser for the past four years, having been affiliated with Edwin Thanhouser, the president of the company, for the past 13 years, having directed and played the leading roles in Thanhouser's stock company in Milwaukee. His stage career, covering a period of over 30 years, has been an interesting one. He has appeared with Edwin Booth, John McCullough, Frederick Warde, Thomas W. Keene, Madame Modjeska, Fanny Davenport, Stuart Robson, and Louis James. He was starred in Frohman's Diplomacy company and The Burglar, besides having been a stock star for years. He has been a manager and had at one time eight companies on the road.

"As a photoplay producer, Mr. Moore has an enviable record, having been accredited with the production of a greater number of features than any other producer on a regular program. Among his productions are Frou Frou, Legend of Provence, From Barmaid to Duchess, The Woman Pays, these featuring Maude Fealy, Joseph in the Land of Egypt, and Bulwer-Lytton's Richelieu, then God's Witness, Milestones of Life, The Price of Her Silence, and The Oval Diamond, featuring Harris Gordon, the last named picture being taken in Jacksonville. He also produced The Woman in Politics, which will be shown at the Prince Theatre in the near future. Mr. Moore expects to remain in Jacksonville for some time as he has just started a new story, The Water Devil, featuring Louise Bates, Harris Gordon and Barbara Gilroy. His photographer, Alfred Moses, is considered one of the most expert in his profession, Mr. Moore's assistant, Leo Wirth, has made many friends during his stay. He is very fond of music and has become quite a favorite with the musical set in Jacksonville."

After Thanhouser: The New Rochelle Evening Standard, March 1, 1917, printed this item: "Eugene Moore, a Thanhouser director, is to leave the local concern on Saturday to take an important position as director with the Balboa Film Company, Los Angeles, California. Mr. Moore has been at the local studio since 1912. Since he came to the city he has taken an active part in its fraternal affairs and is very popular in these circles. Gene, as he is popularly known here, is an old-time legitimate star. He and Mr. Thanhouser, president of the concern, are close friends. The friendship having started when Mr. Moore was Mr. Thanhouser's leading man at the Milwaukee Thanhouser Stock Company. Mr. Moore has been responsible for the development of Miss Florence LaBadie."

After his Thanhouser experience Moore eventually went to Pathé (When Baby Forgot), Universal (Nancy's Baby, O'Connor's Mag, Gene of the Lazy A, The Girl Who Won Out), and LaSalida-Pathé (Captain Kiddo). While at Universal he directed several films featuring the child star, Baby Marie Osborne. In 1918 Moore was in Hollywood, California.

Note: His name appeared in credits in several forms, including W. Eugene Moore, Jr., Gene Moore, Jr., Eugene Moore (the most popular style), and Gene Moore.

Thanhouser Filmography:

1913: A Guilty Conscience (1-5-1913), The Boomerang (1-7-1913), Good Morning Judge (2-9-1913), A Mystery of Wall Street (2-11-1913), The Patriot (4-8-1913), For Another's Sin (4-25-1913), King René's Daughter (7-1-1913), The Ward of the King (8-26-1913), The Spartan Father (8-29-1913), Flood Tide (9-19-1913), An Unfair Exchange (9-23-1913), The Children's Hour (11-14-1913), The Legend of Provence (12-1-1913)

1914: Frou Frou (1-1-1914), The Runaway Princess (1-9-1914), The Woman Pays (1-27-1914), Joseph in the Land of Egypt (2-1-1914), Cardinal Richelieu's Ward (3-1-1914), Pamela Congreve (5-26-1914), Beating Back (Direct-From-Broadway Features 6-9-1914), The Messenger of Death (7-28-1914), Conscience (8-25-1914), The Harvest of Regrets (9-27-1914), The Trail of the Love-Lorn (9-29-1914), Mr. Cinderella (10-25-1914), The Terror of Anger (11-10-1914), Naidra, the Dream Woman (12-4-1914)

1915: An Inside Tip (1-10-1915), God's Witness (5-20-1915), Mercy on a Crutch (7-13-1915), The Picture of Dorian Gray (7-20-1915), Milestones of Life (7-29-1915), Reincarnation (8-31-1915), The Price of Her Silence (9-30-1915), His Vocation (12-7-1915), The Mill on the Floss (12-16-1915)

1916: The Woman in Politics (1-13-1916), The Oval Diamond (2-24-1916), Her Father's Gold (5-11-1916), Where Wives Win (Falstaff 6-10-1916), The World and the Woman (11-19-1916), Pamela's Past (Exclusive Features 12-1-1916)

1917: Her New York (1-7-1917), The Image Maker (1-21-1917), A Modern Monte Cristo (2-4-1917), Pots and Pans Peggie (3-18-1917), The Candy Girl (5-20-1917)

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