Florence Short (1918) 🇺🇸
That Florence Short, who is barely out of her teens, could manage to win such an enviable record both upon the stage and in the silent drama in so brief a period is a matter of surprise only to those who do not know her personally. To youth all things are possible, and when youth is backed by keen intelligence and an abundance of stage traditions from a long line of theatrical ancestry it forms a combination that simply must “arrive.” Possessing all these attributes, together with a dark radiant beauty and charming personality, Miss*Short came into her own.
Friends and admirers are legion who recall her splendid work as Passion in Experience in the original production. Later she was with Henrietta Crosman and in other New*York productions, but her advent and instant success in pictures have won for her an added host of friends, who were quick to appreciate an intelligently capable artist in what is commonly known as vampire roles. Now through ten*episodes of the new United States Secret Service serial, The Eagle’s Eye, Miss*Short’s portrayal of Madam Stephan, an imperial German agent, is a characterization at once impressive and skillfully drawn. It should win for her higher honors in screendom.
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How It Is Done at the Strand Three Scenario Writers for World
A discussion of methods which have actually been worked out successful.
By Harold Edel,
Managing Director.
Lighting. What an important feature it is, both in the film itself and in the theater showing the film. It is surprising how little the extensive uses of lighting are put to, even in some of the larger Broadway theaters, both motion picture and theatrical. The average theater uses plain footlights, stagelights and spotlights and lets it go at that. Experimenting with lights is one of the most pleasant parts of my preparation of a show. With my head electrician, I study new effects, try out new ideas and attempt all kinds of electrical acrobatics, some of which are very often sadly humorous. However, it is only by actual experimenting that we can arrive at a suitable result.
After I have my show planned and carefully outlined, I arrange on paper what I think will make effect lighting. My head electrician does likewise and then we compare notes and try them out. Some times a radical idea works out highly effective, other times it is all wrong, but with a variation leads off to a new idea and so on. I have spent many hours trying out new lights and effects, but the results easily warranted this time and effort.
An idea that always helps to put over a singer is as follows: The number is started with’ the regular stage lighting. The lights are gradually dimmed and a “baby spot” coming up from the foot-lights shines on the singer’s face. As the other lights become dim, the little spot becomes bright and finally the end of the song is sung with a dark stage with only the face of. the singer visible to the audience. By changing colors of the “baby spot,” this can be made more effective.
In any part of the overture where a solo is rendered a small spot is always placed on the soloist, even if the solo is of short duration. Different lighting on the back drop is also usually effective for a singer or other soloist. With a good drop and a careful study of lights upon it, many different effects can be brought out, including beautiful sunsets, sunrises, twilights, moonlight nights, stormy scenes, etc.
Upon conclusion of the overture, solo, or any other number in fact, a sudden switching on of all lights in the house, with the conclusion of the final note, always helps to put it over with a smash. Occasional dimming and brightening of other indirect lights throughout the house bring about a different atmosphere. The more different and harmonious lighting schemes you can inject into your show the better the general results will be, for nothing helps to bring out the variety of your bill more distinctly than changes in lighting.
At the Strand we have two*panels next to the screen, one on each side. In these panels, by means of special projectors, we present suggestions in lighting which are suitable to bring out the action of a scene in the picture. For instance, in Carman of Klondike the big fight scene is staged in the open in the midst of a terrific storm. With the rain pouring down upon the combatants we carried out the idea of the storm further in the panels where rain effects were projected. Then again in another recent picture scenes of an interior of a log cabin were shown with the lightning flashing outside the window and the rain beating against the pane. By synchronizing the lighting on the panels with that in the film as it flashed outside the window, and projecting a down-pour of rain in the panel, it brought the audience apparently right into the room with the players, the edge of the screen acting as the wall of the cabin and the panels representing the exterior on both sides.
In trying out light effects, as well as other bits in connection with the staging of a bill, it is always advisable to have as many of the theater attachés, from the house manager down, in various parts of the house, to see the results from all angles. I have received valuable suggestions on several occasions from young ushers, who take as great an interest in putting over new ideas as I do. By making them feel that they are at all times a part of the creative force of the theater they become more interested in its general welfare than if they were constantly impressed with the fact that they are small cogs in the wheel.
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Bov To Enter Government Work.
John Bov, formerly connected with the technical department of the American Film Company at the laboratory at Chicago, has been selected for the governmental staff of motion picture men and will soon join the film service of the government at New York.
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Hubbard, Clifton and Smith, Men of Experience, Sign Long Time Contracts.
Lucien Hubbard, noted scenario writer, has just signed a long term contract with World-Pictures and has already started work. Mr.*Hubbard, who is a former newspaper man, has recently been associated with the Diando Company in the preparation of the story and continuity for The Wolf-Faced Man, a serial to be released by Pathé.
While Mr.*Hubbard’s specialty is continuity work, he has a number of original stories which have been successful. Among them are The Angel Factory, produced by Astra; The Awakening of Ruth, produced by Edison; two of the O. Henry series and others.
“Scenarios are not written — they are re-written,” declares Wallace C. Clifton, scenario writer, who has just signed a long term contract with World-Pictures.
“I rewrite my scenarios not once or twice, but six*and seven*times and even more, if necessary,” continued Mr.*Clifton. “It is only by rewriting that the best results are obtained. I have yet to see a story so good in its first draft that it cannot be made many times better by careful and thoughtful rewriting.”
Hamilton Smith, who has had a varied and highly successful career in motion pictures, has also joined the scenario department of World-Pictures, having signed a long time contract. He is now engaged, in association with Mr.*Hoyt [Harry O. Hoyt], in the preparation of a story for Madge Evans. Mr.*Smith has been writing scenarios for the past seven*or eight*years. He began with the Kalem company and for some time was associate editor of that concern. Then he did special work for Metro.
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William*Fox Guest of Theater Club.
William Fox, the film producer, and Virginia Pearson, noted screen star, were the guests of honor at a meetings of the New York Theater Club, of which Mrs. Belle de Rivera is president, in the Hotel Astor, March*19. Mr.*Fox was the principal speaker.
Jane [Jane Lee] and Katherine Lee, the Fox “Baby Grands,” presented an original skit.
Collection: Moving Picture World, April 1918