Volume I: Narrative History

Chapter 5 (1912): Miss Snow's Narrow Escape

The prose of H. Rider Haggard surfaced soon thereafter in a Thanhouser film, the most ambitious since the David Copperfield series of the preceding autumn. Thanhouser had scored a success a few months earlier with Haggard's She, so why not have more of a good thing? Jess, set in South Africa, was put on the market in three reels, but on two separate release dates. The first reel, titled A Sister's Sacrifice, came out on Tuesday, May 21st, followed a week later by the two remaining reels, titled Through the Boer Lines and Jess, the Avenger. Marguerite Snow took the title role, while Florence LaBadie played Jess' sister Bess, and James Cruze, William Russell, and others completed the cast. A house was burned down in the course of filming, and another exciting event occurred, this one unplanned. The Moving Picture World Note breathlessly informed its readers:

Marguerite Snow and James Cruze...missed death by a narrow margin recently when a wagon in which they were fording a stream overturned and almost left them underneath. Another miraculous thing about the incident is that when it occurred the camera was really working - and didn't "run out" of film - as is usually the case! No, the whole thrilling escape is recorded in the last reel of Jess, the picture that was being produced; and Miss Snow thus relates her own experience:

"It wasn't a lightweight wagon, let me say, to begin. There were a pair of gritty broncos pulling it and they had to exert themselves at that, as the finished film will show. Mr. Cruze was playing Capt. John Neil, my lover - for I was Jess. And my rejected suitor, the Boer, Muller, portrayed by William Russell, had plotted to destroy us. While we were fording a stream in the wagon, Muller instructed his Boers to fire on us. And fire they did. Our broncos became frightened. So did I, for I saw Mr. Cruze could not hold them. Then I saw that the face of the cameraman over on the bank was lighted up, and that he was churning away with delight. One person, at least, wasn't frightened.

"At that moment the broncos broke the traces and commenced to swim away. They were good swimmers, too, for they managed to make some headway against the current, and the current was SOME current. I heard Mr. Nichols, our director, yell 'Jump!' from the bank, so jump it was. Both Mr. Cruze and myself can swim and we went right over. Then the current got in its 'doity woik.'" Our combined weights must have served as a sort of balance to the wagon and, with us off, the wagon turned over onto us. Of course, it was quicker than I can tell it. I had hardly hit the water than I saw the body of the wagon come swinging over on top of me. All I remember after that is that someone grabbed me and the wagon didn't touch me after all. The film, when I saw it at the factory, shows that Mr. Cruze was the grabber. Of course, I might have known he was the only one near, but in that minute I simply knew I was caught up by some human - later I was told I had fainted."

Exciting stuff, this! Pressagentry was in full force in New Rochelle, and Thanhouser was learning with the industry that dramatized tales of narrow escapes and harrowing adventures made exciting reading for moviegoers, who just might part with a nickel to see first-hand on the screen what they had read about in newspapers and magazines.

By now, reviewers liked just about every film Thanhouser turned out, and the various sequences of Jess were no exception. Released on May 24th, between the distribution dates of the Jess segments, was a one-reeler, The Ring of a Spanish Grandee, a film set in the old Spanish Fort in St. Augustine. Again, reviewers were enthusiastic. Not all was peaches and cream, however, and the Mutual Film Corporation was growing restless with having to share its release dates with the likes of Carl Laemmle's IMP films, not to mention other Independents. Besides, it was annoying not to be able to release three-reel films like Jess all at once. An inkling of what was in the wind was revealed in a full-page Thanhouser advertisement in The Moving Picture World on May 25th:

AN OPEN LETTER TO INDEPENDENT EXHIBITORS: A few days ago a number of Independent exchanges met and conspired to cancel their standing orders for a Thanhouser film. The story of the why and wherefore of this political move is a long one and doesn't interest you, who simply want and will insist upon getting the service you are entitled to. The cancellation of the Thanhouser film by a number of Independent exchanges means that these exchanges will no longer supply you with the best make of Independent film on the market. Your need of the Thanhouser two-a-week was completely forgotten. In their heedless desire to control the film business in their territory, irrespective of the rights of others, these exchanges are putting every Independent exhibitor at unwarranted disadvantage. Ordinarily the exhibitor is too busy running his business to bother about peanut politics, but when it robs him of the feature of his program he is not going to stand for it. Are you going to stand for this gross injustice? Will you permit any exchange to deprive you of the mainstay of your program and at the same time have him ask you to pay him money for it?

We do not care to stop with any exchange's assertion that you do not want Thanhouser films. We want to know FROM YOU if you want them. If you do, send us a card saying "I want Thanhouser films," with your address and exchange, and we'll see that you get them. Where Thanhouser films have been canceled, we want you to know that an exchange will be placed in that territory, handling the Thanhouser films. The exhibitor is going to have Thanhouser films, despite the short-sighted, unbusinesslike attitude of some of the present Independent exchanges. No one realizes better than Independent exhibitors the value of Thanhouser films and their effort to combat the opposition of the Licensed program, and no power is greater than the exhibitor's voice when he tells the exchange man "IF YOU CAN'T GIVE ME THANHOUSER FILMS, I'LL GO WHERE I CAN GET THEM."

"Sincerely yours, Thanhouser Company."

Hint. Hint. "An exchange will be placed in that territory," the advertising copy read. Few who knew Freuler, the Aitken brothers, or Charles J. Hite needed further explanation. Something was in the wind. That "something" was explained in an article in the very same issue of The Moving Picture World, which told of the action of Thanhouser and others:

Under date of May 14, 1912, the following telegram was sent to all Independent exchanges in the United States and Canada:

"The Film Supply Company of America, temporary office 7 East 14th Street, has secured the exclusive agency for the following brands of Independent films, making a total of 21 reels. Kindly place your standing order for any or all of these brands with us for shipment on or after May 27th as they will no longer be shipped through the Sales Company after that date. To obviate confusion wire your cancellation to the Sales Company at the same time you place your standing order with us. For the present release dates remain as usual: Thanhouser, Gaumont, American, Great Northern, Reliance, Eclair, Solax, Majestic, Lux, Comet. Address orders: Film Supply Company of America, 7 East 14th Street."

This is the first definite announcement that has been made by the combined manufacturing interests [Mutual] which have been quietly getting together for the past month or two. The announcement is unqualified and unexplained by those interested, except by these two paragraphs in a letter to the Independent exchanges which follow the telegram: "It is our intention to supply this adequate and high class program to exchanges of good standing using our brands. Prices per foot remain the same as heretofore. We intend to arrange exclusive territory as soon as it is practical to do so. We believe your best interest will be preserved by the use of this program of unquestioned quality."

The moving spirit, or more properly, the promoter of the Film Supply Company of America is Mr. H.E. Aitken, for a long time manager of the Western Film Exchange of St. Louis and New York, and more recently a prominent stockholder and director of the Reliance, the Majestic, and other picture manufacturing concerns. Back of Mr. Aitken and his associates is said to be a number of Western financiers of large means, and it is declared that all the capital necessary to swing the big proposition undertaken by Mr. Aitken will be forthcoming as it is needed....

Along with the movement of the manufacturers combined under the Film Supply Company of America goes the organization known as the Mutual Film Corporation. This is an exchange proposition promoted by the same persons. Its headquarters are in the Harris Trust Building, Chicago, and the concern is under the general management of Mr. J.R. Freuler, who was for a long time proprietor of a big exchange business in Milwaukee, Wisconsin. The concern is capitalized at $2,500,000 and has for its purpose the acquisition of Independent exchanges throughout the United States. Already a number of exchanges have been acquired by the Mutual, but the exact number has not yet been given out for publication....

Still remaining in the Sales Company are the New York Motion Picture Company, the Imp Film Company, the Powers Picture Plays, the Rex Motion Picture Company, the Champion Film Company, the Republic Film Company, and the Nestor Films Company. Of these concerns the first four have formed an organization called the Universal Film Manufacturing Company. Charles Baumann is president, P.A. Powers vice-president, and Carl Laemmle is treasurer. It has been explained unofficially that this company is merely a protective organization formed by the four firms composing it as a sort of pool of interest. It is explained that the organization has absolutely no bearing upon the Sales Company and that its members will continue to release their pictures through the Sales Company as heretofore. At present the members of the Universal are actively engaged in securing alliance on the part of Independent exchanges to the Sales Company....

The Universal Co. at present includes the Rex, Imp, Bison, Powers, Champion, Nestor, Ambrosio, and Itala. It is the expressed avowal of the Universal to take into the fold any or all of the remaining Independent manufacturers, but they must be governed by that company's policies and regulations. The Universal will begin to operate in about 30 days, or within that time.

Almost overlooked in the same issue of The Moving Picture World was the news that George O. Nichols, a mainstay of Thanhouser's team of directors, had resigned to accept a similar position with the Bison Company. The arrangement with Bison was short-lived, and within a week he had signed with the Gem Motion Picture Company, a part of Carl Laemmle's Universal enterprise.

More about the split in the Independent ranks was told in The Moving Picture World, June 1, 1912:

Events are moving swiftly in the factional contest that has developed in the ranks of the Motion Picture Distribution & Sales Company. It is announced by the leading members of both sides that there will be no compromise and that each will continue on well defined plans of organization, irrespective of the other.

The Universal Film Manufacturing Company occupies a large suite of offices on the seventh floor of the Lincoln Building, No. 1 Union Square, New York, which is the scene of unusual activity. The Film Supply Company has completed its organization and taken an entire third floor in the new building at 131 West 44th Street, where its offices are busily engaged in perfecting the company's plans....

C.O. Baumann of Universal stated that it was a wing of the Sales Company and was not seeking to acquire exchanges but "has been formed as a protective organization against the encroachments of the Film Supply Company of America and its allied organization, the Mutual Film Corporation. The Universal Company has also been formed to meet the requirements demanded by the 40 Independent exchanges affiliated with the Sales Company...."

It was announced that the new schedule of the Motion Picture Distribution & Sales Company films would be as follows:

Monday: IMP, Nestor, Champion

Tuesday: Republic, Powers

Wednesday: Nestor, Animated Weekly (IMP), Champion

Thursday: Rex, IMP

Friday: Victor, Note Ambrosio, Nestor

Saturday: IMP, Powers, Republic

Sunday: Rex.

Most important Independents not on the preceding list had joined the opposing camp, the Film Supply Company, which announced its officers: Herbert Blaché, of the Gaumont Company, had been elected president; Ingvald C. Oes, of the Great Northern Film Company, was named vice president; Harry Raver, of Eclair, was tapped for secretary; and the treasurer was C.J. Hite of the Thanhouser Company. The board of directors included the preceding plus Samuel S. Hutchinson, of the American Film Manufacturing Company; William Gray, of the Comet Film Company; Harry E. Aitken, of Majestic; George A. Magie, of Solax; Paul Hernaud, of Lux; and Seymour Stuart, of Reliance.

The Film Supply Company capital stock was equally divided among the member companies. New premises were leased, consisting of the entire third floor, measuring 55 by 100 feet, at 131 West 44th Street, New York City. A small theatre was built into the offices so that affiliates could preview coming attractions. Business commenced at that location on May 23rd, with film shipments beginning on June 4th, although the date for ending all distribution through the Sales Company was pegged as June 10th. Film Supply announced that at the outset 20 reels would be released on its program each week. From time to time these would be augmented by special features.

Free from the restrictive schedule of the Sales Company program, Thanhouser announced that it would soon be releasing three reels a week, something that it had hoped to do since 1910, when the first announcement was made to that effect. In The Morning Telegraph, June 9, 1912, Gordon Trent wrote:

The Thanhouser Company, pioneers in the production of feature subjects, announces a startling step in this field. According to a statement just received from them they will release a two-reel feature film every week. The New Rochelle concern was about the first to specialize in "classics" and other subjects of the feature order, and of late have undertaken the regular monthly issuance of such films. They are the very first manufacturers to announce a two-reel picture weekly. This release will be in addition to a regular weekly single reel. The Thanhouser release days will remain as at present - Tuesday and Friday. To cope with the new feature-a-week order of things many enlargements have been made at the Thanhouser plant, the most important being in the factory, where new developing and dark rooms have been added.

Relations between the opposing factions in the Independent camp were worsening, as The Moving Picture World reported on June 15th:

The condition of the Independent motion picture manufacturers becomes more and more precarious as the fight between the Universal and Film Supply companies progresses. Both factions seem determined upon a fight to a finish with no favors, and while those interests are battling for supremacy, new picture manufacturing companies are springing up like mushrooms in the night with the purpose of getting a foothold while the others are quarreling. The Moving Picture World is informed that there is underway a well-defined third Independent combination of some seven or more companies, all well organized and equipped, with pictures ready to release. The promoters have kept their plans well under cover but will make an announcement very soon. This new element will tend to further complicate matters in the Independent field.

Principal interest in the contest between the Universal Company and the Film Supply Company centers about the Eclair Company. When the Film Supply Company first announced its program the product of the Eclair was included, and the statement was freely made that President Jourjon, of that concern, was an advocate of the principles of the Film Supply. But when the Universal Company came forward with an offer for the Eclair plant which in cash and securities approximated a half a million dollars, Mr. Jourjon felt obliged to place the matter before his board of directors in Paris and took the transatlantic ferry last Wednesday for that city. Until he is heard from, the exact status of Eclair will not be known. At present its product is being announced as Sales Company releases, and the Film Supply Company has taken Eclair from its announcements, which may be construed as a concession in favor of the Universal Company.

The Film Supply Company announces the organization of a new company, to be known as the All Star. This company, it is explained, will be composed of the best available talent, from cameramen to players. Efforts will be made to enlist theatrical players of prominence and the most efficient directors...somewhat along the lines of the famous Society Film d'Art, of Paris. This company will be under the immediate direction of the Film Supply Company. The Thanhouser Company announces that it will have a third weekly release to begin Sunday, June 23rd. Other companies affiliated with the Film Supply will increase their product.

One of the amusing features of the fight is the peculiar position of Harry Raver, who is wondering just where he is at. To begin with he is vice-president and director of the Sales Company, he is general manager of the Eclair Company and in charge of the affairs during the absence of President Jourjon, and, lastly, he is secretary of the Film Supply Company and probably the general manager of that concern. There are many changes being made as a result of the split in the Independent ranks, and every day brings about changes in the status of trusted employees. It will be some time before business gets down to normal.