Volume I: Narrative History

Chapter 7 (1914): Problems in New Rochelle

The year commenced with Frou Frou, a Thanhouser Big Production released in four reels by the Mutual Film Corporation on the announced date of January 1, 1914. Maude Fealy starred in a scenario adapted from a well-known stage play, which in turn had been taken from a French novel. As had been the case with most four-reel films made for Mutual during the previous year, this picture was overlooked by most reviewers. An exception was Hanford C. Judson, who wrote about it in The Moving Picture Review, noting that on balance it was a good film but with a number of inconsistencies and weak spots, including James Cruze wearing the same suit of clothes throughout the entire story, in various unrelated times and episodes, and the use of obviously American architecture in a Venetian scene.

Their Golden Wedding, the first regular Thanhouser film of the year, was released in one reel on January 2nd. The Morning Telegraph found the drama to be "a pretty picture," while The New York Dramatic Mirror gave it a mixed review, mostly on the negative side, and noted that there was a "lack of interest," "weak lighting in a number of scenes," and that it suffered from "the cheapness with which it has been staged." This review was not an auspicious beginning for 1914, and it set the stage for what industry observers would say in the coming year about other Thanhouser one-reel films of the drama class. Released on the same day was the Princess one-reeler, A Rural Free Delivery Romance, which The Moving Picture World found to be "a light subject of about average interest."

Mrs. Pinkhurst's Proxy, a one-reel comedy issued on January 4th, saw Riley Chamberlin in the title role. A writer for The New York Dramatic Mirror found that "the end of the film makes us wish that we could see more of his adventures." The Runaway Princess, a three-reel film released on January 9th, was an adult fairy tale featuring Maude Fealy in the role of Princess Priscilla of the mythical kingdom of Rurilia and was from a scenario written by the actress. Reviews were indifferent, mostly toward the negative side, although Miss Fealy's acting was found pleasing.

A Circumstantial Nurse, the Princess offering of January 9th, was from a scenario by John William Kellette, who worked during the day as a linotype operator and in the evening wrote scenarios for Thanhouser and others, and who also turned out copy for The New Rochelle Pioneer.

Then followed Two Little Dromios on January 11th, a comedy featuring Mignon Anderson in two roles. A review in The New York Dramatic Mirror revealed that there were quality control problems with production at the New Rochelle studio:

This is a one-reel offering which gives the director the chance to introduce some of the best double exposures seen in a long time. The part of the country girl and the city girl was played by Mignon Anderson, and it was when the two are in the same scenes together that the fine double exposure is used. As the film unreels we wait patiently for the development of a plot, and are presently aware of its entire absence. The fact of two girls, living in different circumstances looking so much alike, is used as the plot. To the average spectator the chief worth of the film, that of the double exposure, will probably not be evident. The lighting could have been more distinct at times. The story concerns the country girl who tires of her environments and comes to the city and is confused with the city girl, who also tires and dresses as a country girl for a fancy ball. There is no climax.

Adrift in a Great City, released on January 13, 1914, used Manhattan as a backdrop. Reviews told of problems, including poor handling of the subject, cloudy photography, and an insufficient plot. Charles J. Hite, in his ambition to create Big Productions and to keep pace with innovations in the industry, was letting his quality slide, both at Thanhouser and at Majestic. Films of the latter brand were never strong to begin with, and commentaries such as received for Majestic's one-reeler, Fate's Decree, could not have helped matters: Note "A rather poorer picture than usual under this brand. There are trite scenes of love making and married happiness in a prospector's cabin as the opening. The development is not a pleasing story and is not convincing."

Charles J. Hite and his associates should have been minding the store and remedying the problems with quality at Thanhouser, Majestic, and elsewhere. Instead, the principals at Mutual were busy making more deals, as per a notice in The New York Dramatic Mirror, January 14, 1914:

MEXICAN REBEL SIGNS WITH MUTUAL: The motion picture has entered a new field of activity. Mexican War news is now first-class film news. Last week the rebel leader General [Pancho] Villa signed a contract entering into partnership in a motion picture venture with Harry E. Aitken of the Mutual Film Corporation.... The rebel forces had been somewhat idle for a while previous, but the signing of the film contract impelled the leader to renewed activity, and he determined to get off to a good start by giving the camera a victory to portray, and the capture of Ojinaga followed. Revising Sherman's definition, "War is now a good business proposition." Note

By the contract entered into between President Aitken of the Mutual Company and General Villa, the Mutual Company is given the sole right to film Villa's army in any battles it may engage in. Ten cameramen, under the lead of an Italian who appears to make a specialty of wars, having just been through the Balkan War for a European film company, will follow the rebels throughout their campaign, which, both for business and other reasons, is expected to end in the capture of Mexico City and the fall of Huerta. The films secured will be released as soon as possible to give them newspaper timeliness through the Mutual exchanges. General Villa is to share in all profits. Feeling that President Wilson would be interested in seeing these views of actual conditions in Mexico, Harry E. Aitken has written to the executive offering him the first print on all the films sent up by General Villa so that President Wilson and the Cabinet may see the pictures before they are released to the general public....

In what amounted to revising history for the sake of art and killing people for the sale of film profits, Pancho Villa accommodated Mutual cameramen by staging battles in daylight and under good photographic conditions. Other combatants made deals with other film companies. For example, The New York Dramatic Mirror reported: Note

General Huerta's Mexican army was recently reviewed by Fritz Wagner, a Pathé cameraman. Huerta wanted to let the world know that he had an army that could fight, so 20,000 men, horse, foot, and artillery, paraded before the Pathé cameraman while he turned the crank. As a result, 3,000 feet of the Mexican army have been received by editor Helm of the Weekly. Cameraman Wagner complains of a sore arm. Naturally.

Not that Mutual with its existing problems of quality needed another brand, but that is what it created, per an account in The Moving Picture World, January 17, 1914:

Under the title of Beauty Films, the Mutual program adds another brand of subject to its output. It is announced on Wednesday of each week a one-reel subject will be put on the market. The first subject under the title of Withering Roses will be released on January 14....

Among other news in the industry, films about white slavery continued to be the talk of the nation. Exhibitors exploited them to the fullest, sometimes to the point of being arrested, while trade journals deplored the sensationalism and the unfavorable effects the films were having on the reputation of the motion picture field. Note

Coals of Fire, the Thanhouser film issued on January 16, 1914, was found by reviewers to have an insufficient plot, although, as usual, the acting by Thanhouser players was fine. Again, it is evident that the competent actors and actresses at the studio were not receiving proper support in the way of direction, scenarios (in particular), and photography. Even though by this time Lloyd F. Lonergan, chief scenario writer, had several assistants, including his brother Philip (who devoted most of his time to Majestic) and John William Kellette, he still was inadequate to the task of creating or supervising several releases each week, including multiple-reel features, plus one Princess film each week, plus a four-reel Big Production each month. Quite frankly, no other scenario writer in the industry could have handled it either. It was time for Thanhouser to take down its "No Outside Scripts Wanted" sign.

When the Cat Came Back, the Princess film of January 16th, featured Muriel Ostriche and Boyd Marshall and was well reviewed. Turkey Trot Town, a nonsensical comedy issued on January 18th, was plotless and consisted of everyone in sight doing the turkey trot. "Intensely boring and foolish" remarked The New York Dramatic Mirror.

In an effort to pique the interest of audiences, Her Love Letters, released on January 20th, featured an actress billed only as "Miss Beautiful." In The Moving Picture World, January 17, 1914, she was featured in an advertisement: "Introducing 'Miss Beautiful' - She has no other name." In following weeks, her anonymity was publicized further, including in a news release which suggested that she was a society girl who wished to avoid recognition. However, in keeping with other things going on at the Thanhouser studio at the time, the publicity campaign was poorly organized. A photograph of "Miss Beautiful" was sent to Reel Life, house organ of the Mutual Program, and printed in the issue of January 17th. One week later in the same magazine the following article appeared: "WON'T HAVE PHOTO PRINTED. The Thanhouser studio has a demure young lady who won't have her picture printed in the papers - she's so shy! This unusual actress is said to be a society girl who 'has reasons' for keeping her face out of the printed page, although many persons would consider photoplaying in itself a publicity medium of the most pronounced kind. But the particular photoplayer will not have her photo published or her name, either - they call her 'Miss Beautiful' in the Thanhouser casts and let it go at that. 'Miss Beautiful's' first film appearance comes late in the month. The release is called Her Love Letters, and Harry Benham and the Thanhouser Kidlet appear, too."

All of this mystery surrounding the camera-shy lady fell short of its mark, and reviewers did not mention her. Apparently, the actress did not make much of an impression. "Miss Beautiful" was subsequently revealed to be actress Adele Rey, whose real name was Evelyn Prevost - a pseudonym for a pseudonym!

Marie Eline left the studio around this time, although her films would continue to be released during the next several months. Relegated from star billing on the Thanhouser program to supporting roles to Muriel Ostriche and newcomer Boyd Marshall in Princess films, the erstwhile Thanhouser Kid sought greener pastures elsewhere and soon was located with the World Film Corporation. Reel Life in its issue of April 18, 1914 printed an article about Marie, although by that time she was no longer with the studio and had not been for some time! It suggested that her movement to Princess was a "promotion":

Since the beginning of the Thanhouser Company, a bright little girl, then six years of age, has been playing in many of the films produced at New Rochelle. She has been known as The Thanhouser Kid and has drawn to her many admirers. Since the Princess was founded in the autumn of 1913 she has been featured with Muriel Ostriche and Boyd Marshall. Her first appearance with them was in A Twenty-Nine Cent Robbery, and from that she went on triumphantly in Lobster Salad and Milk, Looking for Trouble and The Purse and the Girl. Her real name has never been used until recently. Note But when she proved her ability to carry off complete roles, like any grown-up actress, Mr. Hite requested that her name should appear and that she be promoted from Thanhouser Kid to juvenile lead. Little Marie Eline is now 11 years old. Her recent promotion is a big step and advance for one of her years, and there may even be a new brand invented some day for her, as there was for Miss Ostriche - into which she is sure to put a great deal of sparkle and individuality. She is a striking brunette and often wears an intent little frown between her brows.

An Elusive Diamond, issued on January 23rd, featured David H. Thompson, Carey L. Hastings, and Mignon Anderson. The review in The Moving Picture World must have been read with enthusiasm in New Rochelle: "A good offering, full of snap and go and acted acceptably.... There are pretty scenes and many popular elements that should go well." The Vacant Chair, the Princess release of January 23rd, was found by The Moving Picture World to be well photographed and acted but to have an unpleasant plot - and it was supposed to be a comedy. Similarly, The Elevator Man, released on January 25th, and featuring Riley Chamberlin in the title role, supported by Florence LaBadie, Harry Benham, and others, was found to be well acted but to have a poor scenario.

The Woman Pays, issued on January 27th, was written by Maude Fealy, who also played the lead role. The Moving Picture World found it to be "an essentially weak story," while The New York Dramatic Mirror felt just the opposite: "about as strong and vital a story as is turned out in a week's output of film dramas." So much for critical comments.

The Purse and the Girl, the Princess release of January 30th, was reviewed favorably by The Moving Picture World. Then on February 1, 1913 came Joseph in the Land of Egypt, a four-reel Thanhouser Big Production for the Mutual Program. James Cruze took the title role, supported by Marguerite Snow, John Lehnberg, Justus D. Barnes, and numerous other players. Although the film was extensively advertised, few reviewers noticed it. Distribution of this and certain other multiple-reel Thanhouser films was through the Continental Feature Film Corporation, a division of Mutual located at 29 Union Square, New York City. Apparently, the hyperactive Bert Adler, who did a great job publicizing Thanhouser's releases on the regular weekly schedule, had no counterpart at Continental. A three-reel version of the same biblical story, titled Joseph's Trials in Egypt, was produced by Eclectic and released by Pathé a day after the Thanhouser effort. Around the same time, Thanhouser made plans for a dramatic Big Production, The Fall of Khartoum, to star Florence LaBadie and to feature camels and other animals from the Thanhouser Zoo. Note However, it is believed that the film was never produced. Presumably it was to deal with the defense by the British and eventual fall of Khartoum in the 19th century.

On Saturday evening, January 31st, the Screen Club Ball was held in New York City at the Grand Central Palace. An estimated 3,500 industry personnel and movie fans attended, including Charles J. Hite and other Thanhouserites who had reserved a box. Music was provided by an orchestra of more than 30 pieces. Note

Why Reginald Reformed, issued on February 1st, featured James Cruze as the inebriated Reginald, who reforms after encountering rampant reptiles from the Thanhouser Zoo. The Moving Picture World found the settings beautiful, the acting excellent, but the story, "though amusing, not artistic." The Success of Selfishness, released on February 6th, featured Florence LaBadie, "Miss Beautiful," and numerous other players. Reviews were enthusiastic. Where Paths Diverge, the Princess offering of February 6th, drew a mixed review from The Moving Picture World, which stated that Miss Ostriche "acts well in the romantic scenes but shows lack of experience in tragedy."

Percy's First Holiday, issued to good reviews on February 8, 1914, featured W.S. Percy, an Australian comedian and actor, in the title role. The Dancer, released on February 10th, with Marguerite Snow in the title role, was enthusiastically received by The Morning Telegraph, The Moving Picture World, and The New York Dramatic Mirror - a rare confluence of agreement which surely uplifted spirits at New Rochelle. Likewise, The Tangled Cat, a Princess film released on February 13th, drew praise. The Moving Picture World commented: "This is a really neat little comedy and caused great laughter among the reviewers.... Muriel Ostriche, Boyd Marshall, Fan Bourke, Eddie Ford, and a strong cast of supporters foist this fine little offering upon the public. Do it again, Mr. Director." Mr. Director was Carl Louis Gregory, who also served as cameraman. However, he was not to serve as such for long, at least not for Princess pictures. "Carl L. Gregory, one of the motion picture directors who also operates their own cameras, has been transferred from the direction of Princess photoplays to the direction of Big Productions, as aide to Carroll Fleming, who is chief director of the Big 'uns,'" The New York Dramatic Mirror advised its readers on February 11th.

The February 14, 1914 issue of The Moving Picture World printed a photograph of Edwin Thanhouser and his wife, with the caption:

The Thanhousers in Egypt: Mr. Edwin Thanhouser and Mrs. Thanhouser are still leisurely pursuing their journey about and around the globe. This latest picture shows them fresh from the latest attempt to interrogate the Sphinx on the future of motion pictures in America. Mr. Thanhouser writes in the accompanying note, dated Cairo, January 17: "I fear this photograph will give you the impression that I am not accustomed to ride a camel, and the fact is I am not. Mrs. Thanhouser and I, however, are enjoying a sojourn in Egypt, though the Sphinx is as uncommunicative as ever. Mrs. Thanhouser joins me in sending our sincere regards."

Wall Street and the motion picture business were now closely intertwined, and the Mutual Film Corporation was proud of the relationship. Reel Life, February 14, 1914, carried the following:

FINANCING THE MOTION PICTURE WALL STREET'S LATEST MOVE: The movie has come to Wall Street - or Wall Street has gone to the movie; whichever is preferred. Either is correct, for, since the success of the Mutual Film flotation, brokers have been looking around for other opportunities in the motion picture field. Rumors of a $25,000,000 combine have been current of late, but ignorance of such a project is professed by those who ought to know if any amalgamation were under way.

The Mutual Film Corporation was organized under Virginia laws in April 1912, with $1,700,000 common and $800,000 7% cumulative preferred stock authorized. Of the former, about $1,555,000 is outstanding, and of the latter, $650,000. The preferred, selling at about 75, has paid its 7% since organization, and six months after incorporation the common, which was bonus stock, began dividends at 1% monthly. This is still being paid in the form of 1/2% regular and 1/2% extra. The common dividend for the next three months has just been declared in advance. The junior shares are quoted at 80, notwithstanding the 12% annual dividend.

The Mutual was financed by Livingston & Co., members of the New York Stock Exchange, and as far as the records show, this is the first Wall Street firm to put money in the movies. The stock issues were rapidly absorbed by brokerage houses throughout the country, and at one time subscriptions were at a premium. The Mutual's gross at first was running at only about $300,000 a year but is now at a rate in the neighborhood of $7,000,000 annually. The present dividends on both stocks require only $242,000 a year. The president of the Mutual Company is H.E. Aitken, who was one of the pioneers in the industry. Crawford Livingston, of Livingston & Co., served temporarily as president when the corporation was launched but could not continue owing to the pressure of other interests. He remains in the directorate, however. Arthur Terry, for some years treasurer of the Guaranty Trust Co., is comptroller of the Mutual, and Felix Kahn, brother of Otto H. Kahn, is one of the principal stockholders.

The Mutual is one of the three big distributors of reels in this country abroad. It is not a producer, but handles the output of twelve studios, including that of the Reliance and Thanhouser. The Reliance Company has $200,000 7% cumulative preferred and $800,000 common. It was intended to make a public offering of the preferred with a bonus of common, but all of the issue was disposed of at private sale by Livingston & Co. J.P. Dunning, formerly vice-president of the Corn Exchange Bank, is treasurer of the Reliance Company. The New York Motion Picture Company, also underwritten by Livingston & Co., has $1,000,000 of stock of one class and pays dividends of 2% monthly, or 24% a year. The shares sell at 100. The moving picture industry is essentially a cash business and one which is growing daily. Whether the profits will become so stupendous that, like the oil shares, movie stocks will become the medium of a new speculation is a matter for the future to disclose.

The Skating Master, issued on February 15th, featured Billy Noel in the title role. Reviews were favorable, except that The Moving Picture World felt the plot was lacking. A Leak in the Foreign Office, released in two reels on February 27th, was the first in the Diplomatic Free Lance Series, taken from a sequence of stories published in Blue Book magazine. Directed by Frederick Sullivan, the film featured James Cruze, Florence LaBadie, David H. Thompson, and several other players. Reviews were favorable.