Volume I: Narrative History

Chapter 10: 1917 Trouble with Pathé

The Exhibitor's Trade Review in its issue of June 9, 1917 carried an article airing Edwin Thanhouser's view that motion pictures stimulated reading: Note

Adapting books for the screen stimulates rather than discourages the reading of the books, according to a statement by Edwin Thanhouser of the Thanhouser Film Corporation, who bases his views on letters from librarians in many cities in the country.

There appeared some time ago in a publication circulated among library workers an article which deprecated the adapting of books to picture form. Mr. Thanhouser expressed the opinion at the time that he could not understand how visualizing a story could hurt its popularity. He then made inquiry to the heads of libraries throughout the country.

E.W. Miller, librarian of the Free Public Library, Jersey City, has found, he writes, "the interest in pictures taken from books so pronounced that [he has] a special card index in the library of the books on the shelves which have been filmed."

Arthur E. Bostwick, head of the St. Louis Public Library, wrote Mr. Thanhouser: "Films based on the plots of books stimulate the circulation of these books in the public library. This is the case whether the books represented are good or bad. We occasionally have a demand stimulated by motion pictures for books which we do not place on our shelves, but the demand is the same whether the book happens to be David Copperfield or Les Miserables."

Herbert S. Hirshberg, librarian of the Toledo Public Library, Toledo, Ohio, agrees with the Thanhouser view but makes a plea for care in film adaptations: "We do not feel the effect of the presentation of the film," he states. "It is always interesting to see how a classic has been adapted. Some adaptations are excellent and portray the spirit of the original. Others give an entirely false idea and destroy the value of the book. Film producers should I believe use special care not to permit poor productions or adaptations of great works of literature. In their desire to produce popular films they often lose sight of their obvious duty in this respect. When good books are well filmed the producer is performing a real service in advertising and stimulating demand for the book. We also find that when poor books not included in our library collection are pictured we frequently have requests for them and have difficulty in satisfying the applicants for the lurid tale...."

The New Rochelle Pioneer, June 16, 1916, carried an article with an all too familiar theme:

The dullness in the moving picture game due to the war spirit has made it necessary for the Thanhouser Company to cut down its working force to two directors for the present. Director Brookes, Assistant Director George Grimmer, cameraman Zollinger and Miss Gladys Leslie are among those who have been let out.

Philip Lonergan has resigned as assistant editor of the scenario department. Mr. Lonergan, who is among the most brilliant of the younger school of scenario writers, is considering some flattering offers. He is not in a hurry however to get to work again, wishing to take a little vacation before resuming his duties. He has been grinding out scenarios for the local studio for the past five years. Phil has been the author of some of the best stories turned out by the local concern. Mr. Lonergan is considering the proposition of remaining a free lance for some time to come. His reputation will sell his stories quickly, and besides, he thinks he can then have time to develop a real big idea.

Variety included this item in its issue of June 22nd:

THANHOUSER LEAVING PATHÉ. Unless matters can be satisfactorily adjusted within the next few days the Thanhouser Film Corporation will cease to release any further features through Pathé, the exchange having registered an objection to the quality of the pictures submitted.

The Pathé people, it is understood, are dissatisfied with the quality and lack of stars in the Thanhouser features. The Thanhouser stockholders are reported to have submitted to Pathé a proposition to purchase the Edwin Thanhouser holdings and put W.E. Shallenberger in charge of future productions, but this has apparently not been favorably received. Emil Chautard, who has been directing for Thanhouser of late, has withdrawn and signed with Lasky. He will direct the next picture to be filmed by [Madame Olga] Petrova.

An article in The Morning Telegraph, June 24, 1917, gave Edwin Thanhouser's opinions of trade reviews: "A controversy over the merits of trade press criticism between Dr. Leonard Keene Hirshberg, of The Johns Hopkins University, Baltimore, and President Edwin Thanhouser, of the Thanhouser Film Corporation, has just been made public. The eminent physician and scientist is an ardent believer in the motion picture, but not in the motion picture critic - at least, of the trade press.

Noting Mr. Thanhouser's stand on the value of the latter, Dr. Hirshberg took strenuous exception, to which Mr. Thanhouser replied: "Advertising may carry weight, but I do not think so. We have had the experience of some trade papers praising a Thanhouser picture and others 'roasting' same; the 'roasting ones' all carried our advertising, and none of the praising ones did. I do not think, as conditions are today in the trade press field, that one of them could 'sell' its criticisms. At least I personally think they print honest - though maybe inaccurate, at times - opinions. But I never believe the trade press advertising pages. So much goodness doesn't exist on earth as is claimed for the films represented."

Meanwhile, the Thanhouser Film Corporation continued its efforts to generate revenues in other ways. The Exhibitor's Trade Review printed this advertisement in its June 30th issue:

The most reliable film laboratory in the United States solicits your developing and printing. The news that the famous Thanhouser Film Laboratories are in shape to handle a fixed amount of outside printing will be good news to everybody who has such printing to place. Remember we are the originators of Wonder-Tone, Note the process that has made Thanhouser photography celebrated for eight years.

Every foot of positive must screen to our satisfaction before it is submitted to yours. Thanhouser Film Laboratories, Suite 616, 220 West 42nd Street, New York City, Phone Bryant 8419. Note Deliveries every hour on the hour. Quality speed service.

Although Thanhouser films were doing poorly at the box office, they continued to garner favorable press reviews. The commentary in The Moving Picture World concerning An Amateur Orphan, released on June 3rd, is representative:

A regulation Agnes C. Johnston photoplay is An Amateur Orphan. A Thanhouser production, this five-reel picture has all the best features of its author's work. It is another case of the poor little rich girl, except that the heroine is a spirited young miss, and when she grows tired of being pampered and hedged in by convention, she changes place with another girl.

She is sent to an orphanage, adopted by a crusty old farmer and has the time of her young life, until her parents come to claim her. Later, when she lets down her skirts and does up her hair, there is a pleasing love story. The success achieved by The Candy Girl and its predecessors will be repeated by An Amateur Orphan. The novel feature connected with the photoplay is the fact that it marks the initial appearance of Gladys Leslie as a Pathé star. Note The young lady merits the honor. Her willingness to do her level best causes her to bubble over at times, but she is an engaging young person with an irresistible smile and will not be long in acquiring the proper method of doing things. Isabel Vernon, Thomas A. Curran, Jean Armour, Chester Morris, Ray Hallor, and Justus Barnes give the star an excellent quality of support. The picture was directed by Van Dyke Brooke. His work shows a sympathetic understanding of An Amateur Orphan's requirements.

Next on the Thanhouser lineup was Fires of Youth, released on June 17th, with Frederick Warde in the lead role. Warde continued to be Edwin Thanhouser's favorite actor at the studio, probably due to Warde's prominence on the stage earlier, but it is not at all certain that the public or, for that matter, the screening committee of the Pathé Exchange, Inc., shared his enthusiasm. Still, Warde's work of the period drew favorable press notices, such as this one in Exhibitors Herald:

As a whole: interesting; story: well handled; star: excellent; support: ample; settings: in keeping; photography: good.

To see Frederick Warde is to see a finished actor - an actor who is master of the art of facial expression. His work in Fires of Youth is excellent. The story is a strong one, well directed, and should prove a good box office attraction. Perhaps the next in importance to Mr. Warde is little Helen Badgley. She is a brilliant child actress and, in the part of a little boy, does justice to her role. Jeanne Eagels, Ernest Howard and Robert Vaughn are other members of the cast.

The story: The men at the factory of Durryville only have heard of Pemberton, the owner, by the name of 'Iron-Hearted' Pemberton. He never appeared at the mill. Pemberton decides that he will enjoy his boyhood at the age of 50 and so retires to his Durryville mansion. The minute the men learn that he is there they plan to kill him as a punishment for the unsafe conditions under which he operates his mill. Pemberton makes the acquaintance of Billy, whose father is an employee of the mill. Through Billy, Pemberton learns of the mill's condition and what the men think of him.

Knowing his men have never seen him, Pemberton becomes an employee in his own mill. Pemberton falls in love with Billy's sister, and, planning to propose marriage, Pemberton puts new furniture in his mansion and has it generally repaired. He does not go to work one day and little Billy, fearing he might lose his position, goes to the mill to do his work. While working, a boiler explodes and Billy is badly burned. Little hope is held out for Billy's recovery. The angered men decide that Pemberton must die. They draw lots. Billy's sister draws for her sweetheart and gets the fatal straw. Pemberton quickly exchanges and goes forth to slay himself. However, Billy's sister follows and, learning the truth, takes him back and after explanations are made Pemberton is allowed to live, providing he will make the mills safe, which he does. Little Billy recovers.