Alice Blaché — Who’s Who in the Film Game (1912) 🇺🇸
It has been your privilege to know something of the ups and downs of the film business, you who read the ever recurring numbers of this particular brand of yellow-backed journal, and you will be surprised to know that with it is identified a real, for sure woman.
This woman, because she has dared to follow her own pleasure into the mysterious realm of motography, becomes at once more interesting than her sisters who merely contribute toward the making. Madam Alice Blaché [Alice Guy], president and general manager, director and producer, makes films. Get that; she makes ‘em. There isn’t any part of the game she doesn’t know. She started early, but she lays claim of being “the oldest man in the business!”
In the preface to A Prodigal Father, Alexandre Dumas, fils, said: “Of all the various forms of thought, the stage is that which nearest approaches the plastic arts, inasmuch as we cannot work in it, unless we know its material processes; but with this difference — that in the other arts one learns these processes, while in play-writing one guesses them; or to speak more accurately, they are in us to begin with.” What a pity Dumas might not have written of motion pictures, instead of the mastery of his father’s talent. He adds, in the next sentence — “One can become a painter, a sculptor, a musician, by sheer study — one does not become a dramatic author in this fashion. A caprice of nature makes your eye in such a way that you can see a thing after a particular manner — not absolutely correct, but which must, nevertheless, appear to any other persons that you wish to have so think, the only correct point of view.” Here we have a statement, pertinent to the production of motion pictures. There is no more wonderful a personage than the producer of the motion-picture play — the judge of the scenario; the scientist of optics: the skilled artist; the master of perspective. The look; the silence; the gesture; the entrancing atmospheric combinations — the producers of modern films for exhibition purposes “is born — and made”; there can be no mistake about it.
The biography of Madam Alice Blaché will be written some day. It might be written in a dozen lines, so simple, so tranquil, so fortunate has been her life, in-so-far as we are to know, judging from a limited knowledge of it. Madame Blaché was born in France, inheriting her good looks from her parents, who were accomplished enough to fit their daughter tor higher education. She lived in a household of culture, good breeding and healthy fun. She can easily lay claim to all that constitutes a clever woman; full of epigram and humor in conversation. That she combines the requisites of business is best emphasized by her rather extraordinary position as the dominant figure in her factory and studio, engaging in a peculiarly hazardous occupation. One of the notable charms of this exceptional woman is her abundance of balance and common-sense. If she has a temper, it is always under control.
Madame Blaché associated with the Gaumont Company in Paris, when it first engaged in film-making. Her ability, demonstrated through the years of service in all departments of the great plant, won for her the full confidence of the officers. When she married Herbert Blaché, she came to America as the dutiful wife and counselor of Gaumont’s representative in this country. She was quick to see the possibilities of an independent plant, and with her own money, she organized The Solax Company; built the establishment on a plot of ground joining the Gaumont works at Flushing. L. I.; assumed the presidency, gathered about her the talent required and superintended and managed every detail. It was only recently that the concern vacated the old quarters to occupy a larger, more modern place erected at Ft. Lee. N. J.
Most film folks are familiar with the Solax brand, it is identified with the Film Supply Company program and with new and modern facilities behind it, combined with the fitness of Madame Blaché, a still better product will follow.
It is unnecessary to give the lady’s age — this is not a biography. The family bible is across the ocean, but don’t you recall that there was a little Blaché who came to live at Flushing, last summer, and can you imagine that with Papa as president of the Film Supply, and Mamma as the president of Solax, the Baby will grow up and not file his application for a license with the Patents Company’’
Madame Blaché has very little patience with the film censors. She is French and believes in realism. She argues that the public should be the judge. No one knows better than she. that pantomine is beset with plenty of troubles at best and that censorship of realistic scenes adds to the producer’s burden. Her foreign training and the knowledge of what would “go” abroad has been the innocent cause of an occasional shock when she tried to bring home a strong moral lesson. But at that, cleverness and a record of meeting every situation face to face, has made the Madame great and that the Solax guiding star is a woman seems to be lost in the hurly-burly of business.
—
She has dared to follow her own pleasure into the mysterious realm of Motography
—
Speaking motion pictures a reality
Synchronism of motion and sound has at last been accomplished after many years of endeavor by Dr. Isadore Kitsee, inventor of many valuable electrical appliances, among which are the central telephone system, now used in all telephone exchanges, and several phonographic attachments. Dr. Kitsee has perfected a simple device by which speaking-moving pictures have become a fact. A demonstration through the medium of the Cort-Kitsee Company, of which John Cort, theatrical manager, is president, has been given by Dr. Kitsee.
This synchronization is accomplished by electro-magnetic means, and the horn of the phonograph is situated directly back of the screen, the projecting device being placed in the rear of the hall, after the usual method. In taking the pictures the sensitive film and the phonograph record are made simultaneously. Dr. Kitsee claims for his latest invention that it may be applied to any of the existing types of projecting machines; in other words, that its use will synchronize any phonograph and any projecting machine.
—
Children to have own theater
At the Kinemacolor projecting room, in New York, a very interesting little pictureplay was exhibited for the benefit of the press. This play, which was shown in two reels and entitled “Other People’s Children,” is one of a series of children’s plays that are to be presented at the Children’s Theater, which is already in preparation on the roof of the Century Theater. When this is ready the children will have “no kick coming,” for there they can go and be entertained as children should be.
The Kinemacolor pictures are to be a feature of this little theater, which will be a boon to children and mothers as well.
—
Ticket scheme called lottery
Samuel Germanski, proprietor of moving picture shows in Bridesburg and Manayunk, Pa., was convicted for operating an illegal lottery. Judge Martin allowed the defendant to enter $600 bail pending a motion for a new trial.
Germanski’s scheme was to give out prize checks with admission tickets, entitling the bearer to a chance on a lot at Pine Beach. Witnesses to the number of a dozen said that they had been notified that they each won a prize lot and that they paid Germanski $7.50 as expenses for conveyancing. According to the witnesses they have been unable to locate their newly acquired properties.
—
Scene from “The Fisherman’s Luck,” Essanay.
Collection: Motography Magazine, October 1912