Source: Simon Nelson Patten, Product and Climax (The Art of Life series) (New York: B.W. Huebsch, 1909), pp. 45-48
Text: The next higher form of climax lies in the melodrama and its allied cheap shows of which the newest kind, the nickel theatre, has a novel importance. It is the first amusement to occupy the economic plane that the saloon has so long exclusively controlled. Its enormous popularity is proof that it appeals to the foundation qualities of men. It is moreover upbuilding, for the pictures of exciting adventures rouse the imagination and concentration which have lapsed in humdrum toil. It is accused of immoral suggestion: the suggestion however is chiefly in the wording of the titles, and the real test of immorality, which is destruction or construction of power, altogether fails. Such a test, naturally, lies in the later effects. If the man goes to the saloon he is “let down” and debilitated afterward; he becomes irritable or confused. There is no such reaction after the cheap show; the glow lasts, subsiding slowly as the memory of the thrilling rescue or the bad man’s capture is overlaid by new sensations. The watcher thinks with purpose, following a story which either has a plot or else holds his attention by showing novel scenes of travel among alien people. He can rest, be warmed, find the companionship of the like minded, and spend half an hour in either the nickel theatre or the saloon for the same price. A conservative estimate puts the number of people in New York City who daily visit the Nickelodeon at 200,000. On one New York street there are five Nickelodeons each having a capacity of 1,000 persons per hour and open from morning until midnight. In the crowded quarters they are almost as numerous as the saloons, and if their popularity continues they will soon out number them. Saloon keepers, says an investigator, are already complaining that their trade is injured by them.
Miss Jane Addams would give to physical sport the place which I have as signed to cheap shows. And this would be the natural place for it, I agree. Primitive men thought through their bodies before they thought through their imaginations; that is, they acted events before they sat down to watch others perform. Physical sport out of doors to-day would also be the natural corrective of the sedentary life of indoor workers. But we are confronted by then fact that there is not now, and is not likely to be for many years, any system of sport that will compare with the theatre in its present organization and accessibility. Great numbers of people easily obtain and are continually influenced by the cheap theatre; comparatively few are stimulated by its natural forerunner, physical play, because there is so scanty equipment for it. To make it a persuasive influence we must first secure an improved general organization of the city — in fact, a geographical reorganization of it, fundamental enough to replace whole areas of dwellings with parks, narrow streets by boulevards, shipping ways with boating courses and construct gymnasiums and baths extensive enough for many thou sand people. In the meantime the actual lift is made by the existing well organized and numerous centers of mimic deeds of virtue and prowess. To close them would be to leave the five-cent pleasure seekers with no alternative but the saloon or street.
Comments: Simon Nelson Patten (1852-1922) was an American economist. Jane Addams was an American social worker and reformer.
Source: Alexander Black, Time and Chance: Adventures with People and Print (New York/Toronto: Farrar and Reinhardt, 1937), pp. 117-118
Text: I was witness to one blunder in translating an audience sound that may have had a parallel under other circumstances, yet scarcely with a setting so unique. Edouard [sic] Muybridge was lecturing at the Oxford Club in Brooklyn on his experiments in photographing the horse in motion – experiments which resulted in startling the artists of the world. By the aid of a primitive projector he was displaying his studies on a screen. The action pictures showed not only horses but human figures, some of which were not merely novel but strikingly beautiful. While Muybridge was projecting and describing the dance of a girl model with floating draperies that glittered in the sunlight, someone in the audience, impatient at the prevalence of too-audible comment, uttered a ‘Sh-h-h!’ Muybridge mistook the shush for a hiss. It was astounding that he should mistake the intention behind the sound, but he blurted out a quick-tempered protest. ‘I am amazed,’ he said, ‘that from an intelligent audience there should be any misjudgement of a picture which I think has been rightly recognized as a work of art. It is a sad humiliation to discover that prudery can go so far.’ The shusher said nothing. Perhaps only in an American audience could Muybridge’s rebuke have been heard in silence. The silence was not only a cruelty to him, but a saddening confession of stupidity if not on the part of the whole audience, on the party of the committee – not to mention the shusher. Of course Muybridge was enlightened when he got through, but the mischief had been done. At least one after-comment insisted that the incident ‘made a monkey of Muybridge and cowards of the crowd.’
Comments: Alexander Black (1859-1940) was an American photographer, journalist and novelist. He became a pioneer of cinematic-style narrative through his 1894 lecture Miss Jerry, which combined staged slides (using professional actors) with some illusion of movement and live commentary. The English chronophotographer Eadweard Muybridge, whose sequence photographs did so much to inspire cinema, lectured across America and Europe in the 1880s. The lecture described hear may have taken place in early 1889 (early film history Terry Ramsaye refers to the incident in his book A Million and One Nights). My thanks to Deac Rossell for bringing this passage to my attention.
Source: Annye C. Anderson (with Preston Lauterbach), Brother Robert: Growing Up with Robert Johnson (New York: Hachette Books, 2020), pp. 51-52
Text: Once I got to go to Beale Street, I’d tag along with Brother Robert, Brother Son, and Sister Carrie to the movies at the Palace Theater. They liked to see Mae West and Bette Davis, and I was a nuisance, always running to the bathroom and wanting popcorn.
Most of the movies we saw at the Palace were Westerns. Buck Jones and Tom Mix were Brother Robert’s favorite cowboys. He wore that big Stetson, like them. All of the young men in our family wore Stetson—that was on the go. My father and Uncle Will wore Dobbs.
At the Palace, Son and Brother Robert saw Gene Autry in Tumbling Tumbleweeds. Gene and another guitar player did a song called “That Silver-Haired Daddy of Mine.”
That piece became a part of Son and Brother Robert’s repertoire whenever they entertained.
All the top bands, Count Basie, Lionel Hampton, Lucky Millinder, Cab Calloway, and Jimmie Lunceford played at the Palace. We could see big entertainment for a small price. These acts also played the Orpheum, the grand opera theater on Main Street at Beale, one of the few integrated venues in the city, though blacks sat in the balcony.
It’s my understanding that Brother Robert would hang out at the Palace while waiting on his next gig. Mr. Barrasso, the owner, let you stay all day on one ticket price. Brother Robert would sleep while the movie played over and over, and the Looney Tunes, shorts, and newsreels ran. He’d sit with the guitar across his chest, watching the old-time cowboy movies. He’d cool off in there on a hot day or warm up on a cold day until the time to meet up with his friends or return to Sister Carrie’s.
Comments: Annye C. Anderson (1926 – ) is the step-sister of Robert Johnson (1911-1938), the legendary American blues guitarist and singer. Her memoir provides much personal detail of the life of the step-brother, who was murdered when she was twelve years old, as well as a vivid account of black lives in the American south in the 1930s. Charles ‘Son’ Spencer was his (and her) musician step-brother and Carrie Spencer his (and her) step-sister.
Source: Damon Runyon, ‘Damon Runyon Finds Some Foreign-Made Pictures Make Him Forget His Patriotism’, The Miami Herald, 7 January 1939, p. 6
Text: As a cash customer of the movies, we are such a rooter for the American pictures as opposed to the foreign-made films that the latter have to be even better than stupendous or colossal to win a decision from us over the home growns. The best we usually give them is a draw. We are 100 per cent patriotic to Sam Goldwyn.
We sometimes think the seats may prejudice us to some extent against the foreigners. The seats in some of those hideaway side street theaters where the foreigners generally show in New York are harder than a politician’s heart. Against those seats a picture has to be practically a miracle to gain our grudging approval.
The larger theaters where the American pictures are shown have nice soft-cushioned seats. The way we like to look at a picture is to slump down in one of those seats until our head is slightly below the level of the back of the seat. That puts us reclining on our spinal column, a most restful attitude, indeed.
Then with our knees propped against the seat in front of us and our sack of candy in our lap, we can really enjoy the screen proceedings. You try propping your knees against the back of a seat in one of the hard-seat theaters and you will get your shin bones all skinned up. Besides the occupant of the seat in front of you is thrown out of plumb by the pushing at his back, and sometimes he, or she, as the case may be, gets right stuffy about the matter.
Thus figuring in the discomfort we generally have two strikes called on a foreign film before it even starts unraveling. Add to that our patriotism to Sam Goldwyn, you can see that we are a dead tough audience. en we go out admitting that the foreigner was a fair picture it must have been a regular lily.
On several occasions during the past semester after seeing a foreign picture in a hard-seat theater we realized that we were thinking, not of the hard seats, but of the picture. It was a symptom that alarmed us. It indicated that the picture must have had many points of excellence to act as an anesthesia to our memory of those seats.
We saw some of the pictures a second time to teat this reaction, and all the while the films were unwinding we forced ourself to keep repeating “Remember old Sam,” that our patriotism might remain flaming throughout the display. The result was the same as before. We not only forgot our discomfort in the hard seats, but there were periods when we could not keep Sam in mind.
We have decided that they must have been good Pictures—so good, in fact, that we are wondering if it is not a portent of some nature to Hollywood. When those foreign picture makers can smack us cash customers between the eyes with at least half a dozen good pictures in a season, it may be time for Hollywood to investigate and see what makes them tick.
“Pygmalion,” “The Lady Vanishes,” “The Citadel,” “The Beachcomber,” “To the Victor,” “Grand Illusion,” “Pearls of the Crown,” “Carnet De Bal” and “Professor Mamlock” are among the foreigners and some of our fellow cash customers say that five of them are entitled to place among the 10 best pictures of the year. We are not so sure of that, but we are sure that “Pygmalion” and “Grand Illusion” are as good as any pictures we saw during 1938, if not better.
As we have said before, Hollywood still has a pretty neat answer to a number of these pictures, which is they will not make a white quarter in this country. They are just artistic triumphs and artistic triumphs are no good for the bankroll. However, we are wondering what is going to happen if those foreign picture makers eventually hit the combination of popular American appeal with the artistic excellence they have already attained?
We are told that most of the foreign pictures lack the technical perfection of the Hollywood pictures, but we have been inquiring around among our fellow cash customers and we find that few of them pay much attention to technique if the picture has a good story, well told. The strength of the foreigners, as we gather from the cash customers, is story, and, of course, direction of story.
Comments: Damon Runyon (1880-1946) was an American journalist and short-story writer, best known for the musical adaptation of his stories, Guys and Dolls. The films he mentions are Pygmalion (UK 1938), The Lady Vanishes (UK 1938), The Citadel (UK 1938), Vessel of Wrath (UK 1938), Owd Bob (UK 1938), La Grande Illusion (France 1937), Les Perles de la couronne (France 1937), Un carnet de bal (France 1937) and Professor Mamlock (USSR 1938). My thanks to Carol O’Sullivan for bringing this piece to my attention.
Source: James Baldwin, The Devil Finds Work (1976), included in Collected Essays (New York: The Library of America, 1998), p. 479
Text: Joan Crawford’s straight, narrow and lonely back. We are following her through the corridors of a moving train. She is looking for someone, or she is trying to escape from someone. She is eventually intercepted by, I think, Clark Gable.
I am fascinated by the movement on, and of, the screen, that movement which is something like the heaving and swelling of the sea (though I have not yet been to the sea): and which is also something like the light which moves on, and especially beneath the water.
I am about seven. I am with my mother, or my aunt. The movie is Dance, Fools, Dance.
I don’t remember the film. A child is far too self-centered to relate to any dilemma which does not, somehow, relate to him – to his own evolving dilemma. The child escapes into what we would like his situation to be, and I certainly did not wish to be a fleeing fugitive on a moving train; and, also, with quite another part of my mind, I was aware that Joan Crawford was a white lady. Yet, I remember being sent to the store sometime later, and a colored woman, who, to me, looked exactly like Joan Crawford, was buying something. She was so incredibly beautiful – she seemed to be wearing the sunlight, rearranging it around her from time to time, with a movement of one hand, with a movement of her head, and with her smile – that, when she paid the man and started out of the store, I started out behind her. The storekeeper, who knew me, and others in the store who knew my mother’s little boy (and who also knew my Miss Crawford!) laughed and called me back. Miss Crawford also laughed and looked down at me with so beautiful a smile that I was not even embarrassed. Which was rare for me.
Comments: James Baldwin (1924-1987) was an African-American essayist, novelist and social commentator. His memories of the film Dance, Fools, Dance (USA 1931) come at the start of his long essay on film and race, The Devil Finds Work (1976). His childhood was spent in Harlem, New York City.
Source: Joseph Medill Patterson, ‘The Nickelodeons: The Poor Man’s Elementary Course in the Drama’ The Saturday Evening Post, 23 November 1907, pp. 10-11, 38.
Text: Three years ago there was not a nickelodeon, or, five-cent theatre devoted to moving-picture shows, in America. To-day there are between four and five thousand running and solvent, and the number is still increasing rapidly. This is the boom time in the moving-picture business. Everybody is making money- manufacturers, renters, jobbers, exhibitors. Overproduction looms up as a certainty of the near future; but now, as one press-agent said enthusiastically, “this line is a Klondike.”
The nickelodeon in tapping an entirely new stratum of people, is developing into theatregoers a section of population that formerly knew and cared little about the drama as a fact in life. That is why “this line is a Klondike” just at present.
Incredible as it may seem, over two million people on the average attend the nickelodeons every day of the year, and a third of these are children.
Let us prove up this estimate. The agent for the biggest firm of film renters in the country told me that the average expense of running a nickelodeon was from $175 to $200 a week, divided as follows:
Wage of manager $25 Wage of Operator 20 Wage of doorman 15 Wage of porter or musician 12 Rent of film (two reels changed twice a week) 50 Rent of projecting machine 10 Rent of building 40 Music, printing, “campaign contributions,” etc. 18 Total $190
Merely to meet expenses then, the average nickelodeon must have a weekly attendance of 4000. This gives all the nickelodeons 16,000,000 a week, or over 2,000,000 a day. Two million people a day are needed before profits can begin, and the two million are forthcoming. It is a big thing, this new enterprise.
The nickelodeon is usually a tiny theatre, containing 199 seats, giving from twelve to eighteen performances a day, seven days a week. Its walls are painted red. The seats are ordinary kitchen chairs, not fastened. The only break in the red color scheme is made by half a dozen signs, in black and white, NO SMOKING, HATS OFF and sometimes, but not always, STAY AS LONG AS YOU LIKE.
The spectatorium is one story high, twenty-five feet wide and about seventy feet deep. Last year or the year before it was probably a second-hand clothiers, a pawnshop or cigar store. Now, the counter has been ripped out, there is a ticket-seller’s booth where the show-window was, an automatic musical barker somewhere up in the air thunders its noise down on the passersby, and the little store has been converted into a theatrelet. Not a theatre, mind you, for theatres must take out theatrical licenses at $500 a year. Theatres seat two hundred or more people. Nickelodeons seat 199, and take out amusement licenses. This is the general rule.
But sometimes nickelodeon proprietors in favorable locations take out theatrical licenses and put in 800 or 1000 seats. In Philadelphia, there is, perhaps, the largest nickelodeon in America. It is said to pay not only the theatrical license, but also $30,000 a year ground rent and a handsome profit.
To-day there is cutthroat competition between the little nickelodeon owners, and they are beginning to compete each other out of existence. Already consolidation has set in. Film-renting firms are quietly beginning to pick up, here and there, a few nickelodeons of their own; presumably they will make better rates and give prompter service to their own theatrelets than to those belonging to outsiders. The tendency is early toward fewer, bigger, cleaner five-cent theatres and more expensive shows. Hard as this may be on the little showman who is forced out, it is good for the public, who will, in consequence, get more for their money.
Who the Patrons Are
The character of the attendance varies with the locality, but, whatever the locality, children make up about thirty-three per cent. of the crowds. For some reason, young women from sixteen to thirty years old are rarely in evidence, but many middle-aged and old women are steady patrons, who never, when a new film is to be shown, miss the opening.
In cosmopolitan city districts the foreigners attend in larger proportion than the English speakers. This is doubtless because the foreigners, shut out as they are by their alien tongues from much of the life about them can yet perfectly understand the pantomime of the moving pictures.
As might be expected, the Latin races patronize the shows more consistently than Jews, Irish or Americans. Sailors of all races are devotees.
Most of the shows have musical accompaniments. The enterprising manager usually engages a human pianist with instructions to play Eliza-crossing-the-ice when the scene is shuddery, and fast ragtime in a comic kid chase. Where there is little competition, however, the manager merely presses the button and starts the automatic going, which is as apt as not to bellow out, I’d Rather Two-Step Than Waltz, Bill, just as the angel rises from the brave little hero-cripple’s corpse.
The moving pictures were used as chasers in vaudeville houses for several years before the advent of the nickelodeon. The cinemetograph or vitagraph or biograph or kinetoscope (there are seventy-odd names for the same machine) was invented in 1888-1889. Mr. Edison is said to have contributed most toward it, though several other inventors claim part of the credit.
The first very successful pictures were those of the Corbett-Fitzsimmons fight at Carson City, Nevada, in 1897. These films were shown all over the country to immense crowds and an enormous sum of money was made by the exhibitors.
The Jeffries-Sharkey fight of twenty-five rounds at Coney Island, in November, 1899, was another popular success. The contest being at night, artificial light was necessary, and 500 arc lamps were placed above the ring. Four cameras were used. While one was snapping the fighters, a second was being focused at them, a third was being reloaded, and a fourth was held in reserve in case of breakdown. Over seven miles of film were exposed, and 198,000 pictures, each 2 by 3 inches, were taken. This fight was taken at the rate of thirty pictures to the second.
The 500 arc lamps above the ring generated a temperature of about 115 degrees for the gladiators to fight in. When the event was concluded, Mr. Jeffries was overheard to remark that for no amount of money would he ever again in his life fight in such heat, pictures or no pictures. And he never has.
Since that mighty fight, manufacturers have learned a good deal about cheapening their process. Pictures instead of being 2 by 3 inches are now 5/8 by 1 1/8 inches, and are taken sixteen instead of thirty to the second, for the illusion to the eye of continuous motion is as perfect at one rate as the other.
By means of a ratchet each separate picture is made to pause a twentieth of a second before the magic-lantern lens, throwing an enlargement to life size upon the screen. Then, while the revolving shutter obscures the lens, one picture is dropped and another substituted, to make in turn its twentieth of a second display.
The films are, as a rule, exhibited at the rate at which they are taken, though chase scenes are usually thrown faster, and horse races, fire-engines and hot-moving automobiles slower, than the life-speed.
How the Drama Is Made
Within the past year an automatic process to color films has been discovered by a French firm. The pigments are applied by means of a four-color machine stencil. Beyond this bare fact the process remains a secret of the inventors. The stencil must do its work with extraordinary accuracy, for any minute error in the application of color to outline made upon the 5/8 by 1 1/8 inches print is magnified 200 times when thrown upon the screen by the magnifying lens. The remarkable thing about this automatic colorer is that it applies the pigment in slightly different outline to each successive print of a film 700 feet long. Colored films sell for about fifty per cent. more than black and whites. Tinted films – browns, blues, oranges, violets, greens and so forth – are made by washing, and sell at but one per cent. over the straight price.
The films are obtained in various ways. “Straight” shows, where the interest depends on the dramatist’s imagination and the setting, are merely playlets acted out before the rapid-fire camera. Each manufacturing firm owns a studio with property-room, dressing rooms and a completely-equipped stage. The actors are experienced professionals of just below the first rank, who are content to make from $18 to $25 a week. In France a class of moving-picture specialists has grown up who work only for the cameras, but in this country most of the artists who play in the film studios in the daytime play also behind the footlights at night.
The studio manager orders rehearsals continued until his people have their parts “face-perfect,” then he gives the word, the lens is focused, the cast works rapidly for twenty minutes while the long strip of celluloid whirs through the camera, and the performance is preserved in living, dynamic embalmment (if the phrase may be permitted) for decades to come.
Eccentric scenes, such as a chalk marking the outlines of a coat upon a piece of cloth, the scissors cutting to the lines, the needle sewing, all automatically without human help, often require a week to take. The process is ingenious. First the scissors and chalk are laid upon the edge of the cloth. The picture is taken. The camera is stopped, the scissors are moved a quarter of an inch into the cloth, the chalk is drawn a quarter of an inch over the cloth. The camera is opened again and another picture is taken showing the quarter-inch cut and quarter-inch mark. The camera is closed, another quarter inch is cut and chalked; another exposure is made. When these pictures so slowly obtained we run off rapidly, the illusion of fast self-action on the part of the scissors, chalk and needle is produced.
Sometimes in a nickelodeon you can see on the screen a building completely wrecked in five minutes. Such a film was obtained by focusing a camera at the building, and taking every salient move of the wreckers for the space, perhaps, of a fortnight. When these separate prints, obtained at varying intervals, some of them perhaps a whole day apart, are run together continuously, the appearance is of a mighty stone building being pulled to pieces like a house of blocks.
Such eccentric pictures were in high demand a couple of years ago, but now the straight-story show is running them out. The plots are improving every year in dramatic technique. Manufacturing firms pay from $5 to $25 for good stories suitable for film presentation, and it is astonishes how many sound dramatic ideas are submitted by people of insufficient education to render their thoughts into English suitable for the legitimate stage.
The moving-picture actors are becoming excellent pantomimists, which is natural, for they cannot rely on the playwright’s lines to make their meanings. I remember particularly a performance I saw near Spring Street on the Bowery, where the pantomime seemed to me in nowise inferior to that of Mademoiselle Pilar-Morin, the French pantomimist.
The nickelodeon spectators readily distinguish between good and bad acting, though they do not mark their pleasure or displeasure audibly, except very rarely, in a comedy scenes by a suppressed giggle. During the excellent show of which I have spoken, the men, woman and children maintained steady stare of fascination at the changing figures on the scene, and toward the climax, when forgiveness was cruelly denied, lips were parted and eyes filled with tears. It was as much a tribute to the actors as the loudest bravos ever shouted in the Metropolitan Opera House.
To-day a consistent plot is demanded. There must be, as in the drama, exposition, development, climax and denouement. The most popular films run from fifteen to twenty minutes and are from five hundred to eight hundred feet long. One studio manager said: “The people want a story. We run to comics generally; they seem to take best. So-and-so, however, lean more to melodrama. When we started we used to give just flashes- an engine chasing to a fire, a base-runner sliding home, a charge of cavalry. Now, for instance, if we want to work in a horse race it has to be as a scene in the life of the jockey, who is the hero of the piece – we’ve got to give them a story; they won’t take anything else – a story with plenty of action. You can’t show large conversation, you know, on the screen. More story, larger story, better story with plenty of action- that is our tendency.”
Civilization, all through the history of mankind, has been chiefly the property of the upper classes, but during the past century civilization has been permeating steadily downward. The leaders of this democratic movement have been general education, universal suffrage, cheap periodicals and cheap travel. To-day the moving-picture machine cannot be overlooked as an effective protagonist of democracy. For through it the drama, always a big fact in the lives of the people at the top, is now becoming a big fact in the lives of the people at the bottom. Two million of them a day have so found a new interest in life.
The prosperous Westerners, who take their week or fortnight, fall and spring, in New York, pay two dollars and a half for a seat at a problem play, a melodrama, a comedy or a show-girl show in a Broadway theatre. The stokers who have driven the Deutschland or the Lusitania from Europe pay five cents for a seat at a problem play, a melodrama, a comedy or a show-girl show in a Bowery nickelodeon. What in the difference?
The stokers, sitting on the hard, wooden chairs of the nickelodeon, experience the same emotional flux and counter-flux (more intense is their experience, for they are not as blase) as the prosperous Westerners in their red plush orchestra chairs, uptown.
The sentient life of the half-civilized beings at the bottom has been enlarged and altered, by the introduction of the dramatic motif, to resemble more closely the sentient life of the civilized beings at the top.
Take an analogous case. Is aimless travel “beneficial” or not? It is amusing, certainly; and, therefore, the aristocrats who could afford it have always traveled aimlessly. But now, says the Democratic Movement, the grand tour shall no longer be restricted to the aristocracy. Jump on the rural trolley-car, Mr. Workingman, and make a grand tour yourself. Don’t care, Mr. Workingman, whether it is “beneficial” or not. Do it because it is amusing; just as the aristocrats do.
The film makers cover the whole gamut of dramatic attractions. The extremes in the film world are as far apart as the extremes in the theatrical world- as far apart, let us say, as The Master Builder and The Gay White Way.
If you look up the moving-picture advertisements in any vaudeville trade paper you cannot help being struck with this fact. For instance, in a current number, one firm offers the following variety of attractions:
Romany’s Revenge (very dramatic) 300 feet Johnny’s Run (comic kid chase) 300 ” Roof to Cellar (absorbing comedy) 782 ” Wizard’s World (fantastic comedy) 350 ” Sailor’s Return (highly dramatic) 535 ” A Mother’s Sin (beautiful, dramatic and moral) 392 ” Knight Errant (old historical drama) 421 ” Village Fire Brigade (big laugh) 325 ” Catch the Kid (a scream) 270 ” The Coroner’s Mistake (comic ghost story) 430 ” Fatal Hand (dramatic) 432 “
Another firm advertises in huge type, in the trade papers:
LIFE AND PASSION OF CHRIST Five Parts, Thirty-nine Pictures, 3114 feet Price, $373.78 Extra for coloring $125.10
The presentation by the picture machine of the Passion Play in this country was undertaken with considerable hesitation. The films had been shown in France to huge crowds, but here, so little were even professional students of American lower-class taste able to gauge it in advance, that the presenters feared the Passion Play might be boycotted, if not, indeed, indeed, in some places, mobbed. On the contrary, it has been the biggest success ever known to the business.
Last year incidents leading up to the murder of Stanford White were shown, succeeded enormously for a very few weeks, then flattened out completely and were withdrawn. Film people are as much at sea about what their crowds will like as the managers in the “legitimate.”
Although the gourdlike growth of the nickelodeon business as a factor in the conscious life of Americans is not yet appreciated, already a good many people are disturbed by what they do know of the thing.
Those who are “interested in the poor” are wondering whether the five-cent theatre is a good influence, and asking themselves gravely whether it should be encouraged or checked (with the help of the police).
Is the theatre a “good” or a “bad” influence? The adjectives don’t fit the case. Neither do they fit the case of the nickelodeon, which is merely the theatre demociatized.
Take the case of the Passion Play, for instance. Is it irreverent to portray the Passion, Crucifixion, Resurrection and Ascension in a vaudeville theatre over a darkened stage where half an hour before a couple of painted, short-skirted girls were doing a “sister-act”? What is the motive which draws crowds poor people to nickelodeons to see the Birth in the Manger flashed magic-lanternwise upon a white cloth? Curiosity? Mere mocking curiosity, perhaps? I cannot answer.
Neither could I say what it is that, every fifth year, draws our plutocrats to Oberammergau, where at the cost, from first to last, of thousands of dollars and days of time, they view a similar spectacle presented in a sunny Bavarian setting.
It is reasonable, however, to believe that the same feelings, whatever they are, which drew our rich to Oberammergau, draw our poor to the nickelodeons. Whether the powerful emotional reactions produced in the spectator by the Passion Play are “beneficial” or not is as far beyond decision as the question whether a man or an oyster is happier. The man is more, feels more, than the oyster. The beholder of the Passion Play is more, feels more, than the non-beholder.
Whether for weal or woe, humanity has ceaselessly striven to complicate life, to diversify and make subtle the emotions, to create and gratify the new and artificial spiritual wants, to know more and feel more both of good and evil, to attain a greater degree of self-consciousness; just as the one fundamental instinct of the youth, which most systems of education have been vainly organized to eradicate, is to find out what the man knows.
In this eternal struggle for more self-consciousness, the moving-picture machine, uncouth instrument though it be, has enlisted itself on especial behalf of the least enlightened, those who are below the reach even of the yellow journals. For although in the prosperous vaudeville houses the machine is but a toy, a “chaser,” in the nickelodeons it is the central, absorbing fact, which strengthens, widens, vivifies subjective life; which teaches living other than living through the senses alone. Already, perhaps, touching him at the psychological moment, it has awakened to his first, groping, necessary discontent the spirit of an artist of the future, who otherwise would have remained mute and motionless.
The nickelodeons are merely an extension course in civilization, teaching both its “badness” and its “goodness.” They have come in obedience to the law of supply and demand; and they will stay as long as the slums stay, for in the slums they are the fittest and must survive.
Comments: Joseph Medill Patterson (1879-1946) was an American journalist and newspaper publisher, founder of the New York Daily News. Nickelodeons (a nickname given in America to the shop-conversions that preceded purpose-built cinemas) came to the interest on general newspapers and magazines in 1907. The illustrations come from the original publication.
Source: Henry Albert Phillips, ‘The New Motion Picture: No. 1 – The Teleview’, Motion Picture Magazine, August 1923, pp. 35-36, 86
Text: The New Motion Picture
A Series of Searching Articles Showing the Constant Efforts of the Moving Picture to Re-Create Nature and Life as We Actually Experience It
I. THE TELEVIEW
By HENRY ALBERT PHILLIPS
Of the many thrills that enlivened my boyhood days, one stands out with vivid distinctness. As I recall it now, not a little of the original “kick” comes back with the recollection. I cannot help recalling with a certain amount of wistfullness the ravishing odor of candle grease and drying Christmas tree greens. For it was very early Christmas morning. And I had come down to see what Santa had brought me and stood there shivering from the cold and mingled emotions, when my eye fell on a pasteboard box about a foot long. It looked mysterious. I removed the red ribbon with trembling fingers and a rapidly beating heart. Within was excelsior — only wonderful things were wrapped in excelsior! I was further ecstatically tantalized to find the object inclosed in tissue paper. Each of these barriers heightened my imagination to a quite alarming state, and enhanced the value of the gift out of its true proportions.
The wonderful present proved to be a stereopticon. It consisted of a wooden canopy shaped to fit the brow and shade the eyes. You held it to your face and looked thru two windows of slightly magnifying glass at pictures which were set in a sliding cross-piece and regulated according to your astigmatism, or lack of it. The peculiar part of it was, that there were two pictures side by side on the picture card, one being identical with the [other]. I remember feeling that some mistake must have been made in the pictures they had sent me, likewise a sense of dreadful waste! If they had only put two different pictures on each card, I would have had twice as many! The pictures were photographs of noteworthy scenes the world over. There was the Brooklyn Bridge, I remember, with the low skyline of buildings in the background of New York of the eighties: there was a chamois standing on a mountain crag, with a breath-taking abyss beside him and other mountains in the background; and some hunters standing with their clogs in an open field, with a wood in the background. In other words, I remember, that there was always a foreground and a background in every picture, with distinct “air spaces” intervening between the two.
If for one moment, I had had any doubts of a possible commonplaceness in my stereopticon and its “views,” they immediately vanished when I looked thru the little windows and saw every object standing out both as big and as thick as life! I could actually see behind each object! By this, I mean objects did not appear as objects usually do when drawn on a flat surface, like so many facsimile shadows, but they actually had body, length, breadth and thickness and were actually separate from other objects around them. Why, you could actually feel the nearness of the near objects and calculate the distance of those far away. It was as tho each object in the picture had been cut out and stood up separately and accurately in relative distance one from the other.
This magical toy has never yet ceased to thrill and delight me. It brought ordinary scenes to life, or at least it lacked one essential which seemed too audacious for me to conjecture even — motion! Add motion to our three-dimension picture and the magic would be complete — for, bear in mind, that objects were magnified to the normal dimensions in which they would be perceived by the naked eye, known as “life-size.”
Well, this magic picture — which seemed too blasphemous for my boyish mind to consider possible — has come into being, like so many other undreamed-of wonders, in this Age of Invention in which we are living open-mouthed. The Moving Picture Stereopticon is here! They call it — possibly for the same reason that a living apartment in a more or less high building is called a “Flat” — the Teleview. That name has numbed thousands of potential patrons into a state of innocuous disinterestedness.
However, altho a name may give a thing a black eye, it cant hurt it if its character is good and sound. Call it even Teleview and the virtue of the device will survive.
It is human nature and cupidity in the crowd that makes it shrink from novelties of progress — especially if they have to dip their hands into their pockets and contribute a few cents to support the idea at a critical moment; while this same crowd, propelled by the same human nature, will flock en masse to witness some act of decadence — such as fire, murder or suicide — admission free! At the recent showing of the Teleview in one of New York’s big theaters, the public showed considerable interest over it — only when they had read the publicity stuff about it they yawned and went to bed, instead of going to see it and catering to their better faculties. Several of the passholders in the seat behind me showed that rare good taste so often exhibited by pass-holders — and all other people who get good things for nothing – by sneering audibly during the performance and, on leaving, announcing in scornful tones that the whole show was rotten.
There is probably something to be said on both sides. Restricting ourselves to the Teleview process of projection, I must acknowledge having witnessed a really marvelous exhibition. When we step aside from the invention proper and touch upon the judgment and skill of those responsible for the selection and production of “the first moving picture to be produced in three dimensions,” then I too must join those who remarked that there was surely something rotten in Teleview’s Denmark.
The picture-play was called “M-A-R-S.” From scenario to directing, and directing to acting, it was among the worst ten pictures I ever saw, and that is saying a great deal. To mention names in this instance is to call names. They have suffered enough. But the point remains, that Teleview suffered a great deal unjustifiedly. The critics went and their odoriferous opinion of the picture made them dub the whole performance as being one and the same piece of cheese. Honest, interested spectators came and had their sincere enthusiasm numbed by an hour and a half’s boredom. Outside, were thousands upon thousands of credulous people who would have been willing to go to see Teleview — and kill two movie birds with one stone as it were, by seeing this wonderful new process and a good picture at the same time — if the picture had been only as bad as the average. So their scientific end was excellent, but their artistic end was not. Because of this error — oh, so common! — in artistic judgment and execution, thousands of people may not see this wonderful new process so soon as they might otherwise have done so.
The reason for all this is simple. Teleview picture making is costly from beginning to end. A special camera is necessary, a special method in the processes between exposure and projection, and, finally, in seeing the pictures on the screen it is necessary for each individual spectator to look thru what corresponds to our former stereopticon, which consists of two little windows within which passes a revolving shutter operated by a tiny motor. Here’s the rub — both in the matter of enormous expense to the producer, and also in [that] of training the spectator to his comfort and savoir faire [to] adjust his individual apparatus and maintain the rigid poise necessary to keep his eyes on a level with the small apertures.
The Teleview method of motion picture photography, production and projection is the invention of Lawrence Hammond, assisted by William F. Cassidy, both of the class of 1919 at Cornell.
Looking with the naked eye upon Teleview pictures projected on the screen, we find a blurred double image with a fuzzy suggestion of chromatic colors permeating it. And it is true that there really are two images on the screen; one superimposed — slightly off-center — over the other. In the projection-room you will find two projection machines operating in co-ordination and each throwing its contributive image on the screen simultaneously. Going further back, we learn that the subject-matter was originally photographed with a stereoscopic, or double-lensed, camera these lenses have been adjusted to a distance apart corresponding to the space — optically speaking — between the two human eyes.
An observation by the writer at this point might be helpful to the reader in understanding and visualizing the Teleview method at this stage of its development. Several years ago I had a serious infection of the eyes. An operation and heroic treatment effected a cure, but I suffered a collapse of the optical muscles. They refused to binoculate. I saw two images. Each eye saw separately. You can do the same thing, by deliberately forcing the eyeballs to draw themselves so as to look in two straight parallel lines. You will then see two slightly blurred images.
The ingenious feature of the method is introduced at this point. Just before the projection on the screen begins, spectators become aware that the stereoscope device, thru which they must look at the screen, has suddenly come to life! We can hear a slight whirring and feel a tiny smooth vibration within. It is the motor within each instrument. Perhaps we had noted on first examining the instrument that it contained a small, two-vaned “shutter,” which persisted in sticking in one of the windows and thus threatening to spoil our clear view of the screen. But now we note with satisfaction that the shutter has mysteriously disappeared! The fact is that it is revolving so fast that we cannot see it.
Now, this shutter co-ordinates perfectly with the projection machine and cuts off the vision of each eye alternately so that one eye sees one “frame” — as each separate picture that forms the strip of pictures is called — and the other eye sees only the following or alternate one. Because of the infinitesimal elapse of time — l/196th of a second — of the duration of each impression, they seem to be simultaneous but separate images. When they are blended in the brain they give the sensation of depth, observable in the old- fashioned stereoscope. The ordinary rate of 16 pictures to the foot is used.
The cost of equipping a theater with mechanical shutters is given by the inventors as five dollars a seat, separate shutters being necessary for each observer. The cost of producing a picture by this method is said to be about double.
The result of witnessing a Teleview moving picture is startling. In stereoscope “still” pictures we were impressed with the realism induced by the appearance of solid images with perceptible air-spaces between them. With these “real” images set in motion, the effect is astonishing. But one gets a real thrill when moving objects are set in motion coming directly toward the spectator. They actually leap from the screen! The result is uncanny. One shrinks back for an instant to avoid what must prove a disastrous impact. The illusion is perfect.
The background of the photographic picture appears to be no farther distant than the surface of the actual screen from the spectator. Any person or object in the picture that moves in any degree from the picture background toward the observer seems actually to step out of the picture and approach. Thus moving figures appear to be carrying on the action on a real stage projected toward the audience in front of a realistic back-drop.
What presumably happens is that objects approach just as close to each individual spectator as they did to the camera. The audience is really looking thru the lens of the camera, which has been made to synchronize with the universal focus and vision of all who see it thereafter. The eye of the cameraman has attended to that. Thus, if an object is moved to within six feet of the camera, it seems to have emerged from the background and approached to within the same distance of each spectator. I sat at a distance of let us say one hundred feet from the screen and yet the illusion in one or two instances was so perfect that I felt convinced that if I had put out my hand I could almost have touched the foremost objects in the picture!
And Teleview is only one of the many indications showing the marvelously rapid advance of the motion picture to spheres of perfection and efficiency at which we can only hazard a guess from day to day!
Comments: Henry Albert Phillips (1880–1951) was an American film scenarist and editor of Motion Picture Magazine. The science-fiction feature film M.A.R.S. (aka The Man from M.A.R.S.) was first exhibited in December 1922 as part of a programme of films demonstrating the ‘teleview’ invention of Laurens Hammond (also inventor of the Hammond organ). The ‘teleview’ was a glass viewer with a revolving shutter attached to the side of the cinema seat that was operated by a small motor. The special ‘teleview’ camera had two lenses, giving a blurred picture to the naked etye, but through the projection device a stereoscopic effect was produced, though the effect was restricted to a small projection space. The film was re-issued in August 1923 as Radio-Mania in non-stereoscopic form, being either entirely re-shot or possibly filmed simultaneously with a normal camera. No further ‘teleview’ films were made. Stereopticon was an American term for the magic lantern.
Source: T.C. Porter, Impressions of America (London: C. Arthur Pearson, Limited, 1899), pp. 193-194
Text: At dinner, some printed notices laid by our plates reminded us that the kinematoscope was at work in the town, showing in several separate scenes the fight between Fitz-Simmons and Corbett. Wishing to see how such exhibitions in America compared with those at home, I took a seat, perhaps rather too near the screen, and witnessed the struggle between the two athletes. The flicker was unpleasant throughout, which means that somehow or other more pictures should be thrown on the screen per second; and what is more trying to the eyes is the want of correct register in successive views, which causes the whole view on the screen to wobble up and down through a small distance, perhaps two or three inches. This often made it impossible to follow any rapid action, and I should think might be partly due to the nature of the film on which the pictures are taken. On the whole, I do not think this particular show was nearly so good as the “Biograph” entertainment in London.
One thing interested me a good deal. I noticed that a man sitting next to me viewed the pictures through two small holes, cut out in a sheet of dark-coloured paper. He told me it notably lessened the flicker. I tried the plan, and found it work, as my informant said: but it cut off too much light to my mind, so I did not use it long. Several of the scenes which happened just after the wrestling were shown. A man passing in the foreground looked up for an instant towards the audience with a tragically woe-begone expression, whilst the conductor or expositor, whichever he should be called — simply remarked, “That is Mr. So-and-so; he has just lost 70,000 dollars!” Perhaps that is not the exact sum mentioned; in any case it was large enough to provoke most unfeeling mirth on the part of the spectators.
Comments: Thomas Cunningham Porter (1860-1933) was a British physicist and Eton schoolmaster, member of the Royal Astronomical Society and the Physical Society of London. The world heavyweight boxing championship between James Corbett and Bob Fitzsimmons was held at Carson City, Nevada on 17 March 1897. The full fight was filmed by the Veriscope company using a 63mm-wide film format and was widely exhibited, the full film being 11,000 feet in length and lasting around an hour-and-a-half. There was no projector called a ‘Kinematoscope’. The screening took place in Colorado.
Source: James Agee, A Death in the Family (London: Peter Owen, 1965 – orig. pub. 1957), pp. 11-14
Text: At supper that night, as many times before, his father said, “Well, spose we go to the picture show.”
“Oh, Jay!” his mother said. “That horrid little man!”
“What’s wrong with him?” his father asked, not because he didn’t know what she would say, but so she would say it.
“He’s so nasty!” she said, as she always did. “So vulgar! With his nasty little cane; hooking up skirts and things, and that nasty little walk!”
His father laughed, as he always did, and Rufus felt that it had become rather an empty joke; but as always the laughter also cheered him; he felt that the laughter enclosed him with his father.
They walked downtown in the light of mother-of-pearl, to the Majestic, and found their way to seats by the light of the screen, in the exhilarating smell of stale tobacco, rank sweat, perfume and dirty drawers, while the piano played fast music and galloping horses raised a grandiose flag of dust.
And there was William S. Hart with both guns blazing and his long, horse face and his long, hard lip and the great country rode away behind him as wide as the world. Then he made a bashful face at a girl and his horse raised its upper lip and everybody laughed, and then the screen was filled with a city and with the sidewalk of a side street of a city, a long line of palms and there was Charlie; everyone laughed the minute they saw him squattily walking with his toes out and his knees wide apart, as if he were chafed; Rufus’ father laughed, and Rufus laughed too. This time Charlie stole a whole bag of eggs and when a cop came along he hid them in the seat of his pants. Then he caught sight of a pretty woman and he began to squat and twirl his cane and make silly faces. She tossed her head and walked away with her chin up high and her dark mouth as small as she could make it and he followed her very busily, doing all sorts of things with his cane that made everybody laugh, but she paid no attention. Finally she stopped at a corner to wait for a streetcar, turning her back to him, and pretending he wasn’t even there, and after trying to get her attention for a while, and not succeeding, he looked out at the audience, shrugged his shoulders, and acted as if she wasn’t there. But after tapping his foot for a little, pretending he didn’t care, he became interested again, and with a charming smile, tipped his derby; but she only stiffened, and tossed her head again, and everybody laughed. Then he walked back and forth behind her, looking at her and squatting a little while he walked very quietly, and everybody laughed again; then he flicked hold of the straight end of his cane and, with the crooked end, hooked up her skirt to the knee, in exactly the way that disgusted Mama, looking very eagerly at her legs, and everybody laughed very loudly; but she pretended she had not noticed .Then he twirled his cane and suddenly squatted, bending the cane and hitching up his pants, and again hooked up her skirt so that you could see the panties she wore, ruffled almost like the edges of curtains, and everybody whooped with laughter, and she suddenly turned in rage and gave him a shove in the chest, and he sat down straight-legged, hard enough to hurt, and everybody whooped again; and she walked haughtily away up the street, forgetting about the streetcar, “mad as a hornet!” as his father exclaimed in delight; and there was Charlie, flat on his bottom on the sidewalk, and the way he looked, kind of sickly and disgusted, you could see that he suddenly remembered those eggs, and suddenly you remembered them too. The way his face looked, with the lip wrinkled off the teeth and the sickly little smile, it made you feel just the way those broken eggs must feel against your seat, as queer and awful as that time in the white pekay suit, when it ran down out of the pants-legs and showed all over your stockings and you had to walk home that way with people looking; and Rufus’s father nearly tore his head off laughing and so did everybody else, and Rufus was sorry for Charlie, having been so recently in a similar predicament, but the contagion of laughter was too much for him, ang he laughed too. And then it was even funnier when Charlie very carefully got himself from the sidewalk, with that sickly look even worse on his face, and put his cane under one arm, and began to pick at his pants, front and back, very carefully, with his little fingers crooked, as if it were too dirty to touch, picking the sticky cloth away from his skin. Then he reached behind him and took out the wet bag of broken eggs and opened it and peered in; and took out a broken egg and pulled the shell disgustedly apart, letting the elastic yolk slump from one half shell into the other, and dropped it, shuddering. Then he peered in again and fished out a whole egg, all slimy with broken walk, and polished it off carefully on his sleeve, and looked at it, and wrapped it in his dirty handkerchief, and put it carefully into the vest pocket of his little coat. Then he whipped out his cane from under his armpit and took command of it again, and with a final look at everybody, still sickly but at the same time cheerful, shrugged his shoulders and turned his back and scraped backward with his big shoes at the broken shells and the slimy bag, just like a dog, and looked back at the mess (everybody laughed again at that) and started to walk away, bending his cane deep with every shuffle, and squatting deeper, with his knees wider apart, than ever before, constantly picking at the seat of his pants with his left hand, and shaking one foot, then the other, and once gouging deep into his seat and then pausing and shaking his whole body, like a wet dog, and then walking on; while the screen shut over his small image a sudden circle of darkness: then the player-piano changed its tune, and the ads came in motionless color. They sat on into the William S. Hart feature to make sure why he had killed the man with the fancy vest – it was as they had expected by her frightened, pleased face after the killing; he had insulted a girl and cheated her father as well – and Rufus’ father said, “Well, … this is where we came in,” but they watched him kill the man all over again; then they walked out.
Comments: James Agee (1909-1955) was an American novelist, journalist and film critic. The passage above is the opening to chapter one of his posthumously-published novel A Death in the Family, which is set in 1915 in his home town of Knoxville, Tennessee. Despite the great detail given, the Charlie Chaplin film described is imaginary. The family had attended a continuous show, which is why the William S. Hart western comes round again. Player-pianos were not infrequently used in early cinema shows.
Source: John Hall Ingham, ‘The Kinetoscope’, part of ‘Symbols of Science’, Pompeii of the West & other poems, (Philadelphia/London: J.B. Lippincott Co., 1903), pp. 159-160
Text: IV – THE KINETOSCOPE
See how the marble of the Phidian day, The canvas warmed by Raphael,—embalm A moment’s action in eternal calm: This look, this gesture that the human clay Hath long resigned,—will thus forever stay, But motionless. Then wonder at this glass, Wherein a thousand scenes that swiftly pass Make one scene that will live for us alway.
The hours, days, years sweep on: each minute’s birth Blends weal and woe, the bitter and the sweet. Deem not thy own nor yet thy fellow’s worth Weighed in a single triumph or defeat,— One deed or one misdeed of sense or soul. Flash Life’s full cycle forth: judge by the whole!
Comments: John Hall Ingham (1860-1931) was a American poet. The above poem is one part of ‘Symbols of Science’, whose seven sections are devoted to the Telephone, the Phonograph, the Trolley, the Kinetoscope, the Röntgen Ray (i.e. X-rays), Liquid Air and Wireless Telegraphy. It must be one of the first poems devoted to the subject of motion picture films.