George Reehm (1914) 🇺🇸
George Reehms, who for the last year has been staging Royal and Komic photoplays for the Mutual Film Corporation, has been actively interested in motion pictures since 1906. For seven of those years he was connected with a large motion picture firm in Philadelphia, which he left to accept the position he now occupies. One of the striking features of Mr. Reehms’ career is the fact that during the major portion of it he has been one of a trio whose position is unique in the motion picture world. He has been almost constantly associated with Walter Stull and Robert Burns [Bobby Burns] and the combination has been a winning one.
The three write their own plays, stage them and act in them. In every case one of three directs the production while the other two take part in the picture. All matters of importance arising during a production of one of their pictures are subjected to a vote of the triumvirate. The vote settles the discussion, for “majority rule” is an unwritten law of the combination.
Mr. Reehms was born in 1881 and in 1898 entered upon a stage career. For eight years he appeared in various comedy and dramatic roles before transferring his efforts to the motion picture stage. His ability rapidly developed during his engagement with the Philadelphia concern, and since the change made a year ago he has been seen in some of the best and most popular of the Royal and Komic photoplay productions.
—
“The Song of Solomon.”
Two-part Edison Comedy.
Reviewed by Louis Reeves Harrison.
Solomon, a composer… Edward Boulden.
Mr. Best, a music publisher… William Bechtel.
Trixie, a star… Sally Crute.
Her maid… Elizabeth Miller.
Gallegher, an actor… Edward O’Connor.
The pawnbroker… Harry Eytinge.
The doorkeeper… Harry Linson.
A composer… Richard Neill.
A decidedly interesting comedy-drama, The Song of Solomon, corresponds very closely to Brunetiere’s theory on what are absolutely necessary characteristics of any drama. The brilliant French critic declared in a series of lectures delivered at the Odean Theater, Paris, that an essential principle to be regarded by all playwrights is found in a clash of contending desires, the assertion of one human will against others offering strenuous opposition. “If obstacles against which the hero contends are insurmountable, then there is tragedy, and the end of the hero is likely to be death. Change the obstacle so as to equalize chances in the same conditions of struggle, those of human will in opposition, and we have comedy.”
The Song of Solomon tells the story of a composer who stakes practically all that he has, his position in a publishing house, his individual resources and all that he can beg, borrow or steal, on the success of a song he has created, and his struggles, while containing many elements of comedy, particularly because of Edward Boulden’s admirable impersonation, are so pathetic at times that the piece might well be called a tragi-comedy so far as its effect is concerned.
A little more than is necessary is made of Solomon’s agony of mind while in the throes of composition, but any one of keen musical sensibilities will appreciate his misery while trying to compose in an office devoted mostly to the sale of songs, such as are peppered in with the salt of moving picture offices near Times Square. That he succeeds in spite of a shrieking soloist on one side and a howling trio on the other gives a preliminary view of his unquenchable ardor and magnificent determination. There qualities support him after he is discharged, when he begins a plucky campaign to interest the reigning Broadway star, “Trixie,” charmingly impersonated by Sally Crute.
The desperate measures taken by Solomon to get his song before the popular favorite of the day constitute a series of amusing adventures, with an undertone of pathos, and culminate in his obtaining an apartment next to the expensive one she occupies in spite of his extreme poverty and a thousand intervening difficulties. He is not permitted to ride over these difficulties in the purely arbitrary manner which makes scenario writing so easy for amateurs and the completed product so wearisome for those who go to the picture shows.
There is no violation of plausibility in the action. Solomon has to fight every inch of his way from the conventional starting point clean through to the end, and that is what makes his uphill struggle interesting. Mr. Miller is to be congratulated for his fidelity to the legitimate requirements of his story. He does not ask us to believe the unbelievable. His story is one true in its motive and. better still, is so logical in its handling that it carries the conviction of actual truth, a life portrayal.
—
Scene from The Song of Solomon (Edison).
—
Edison Company to Bermuda.
Director George Lessey sailed for Bermuda on the Arcadian, Saturday, April 4, with Ben Wilson, May Abbey, Mr. and Mrs. Bechtel [William Bechtel | Mrs. William Bechtel] and John Sturgeon. Several weeks will be spent on the island in making productions which only the beauties of Bermudian scenery make possible. This is the third season that the Edison players have been sent to Bermuda, where they have made many notable productions, among them The Relief of Lucknow, which is still being exhibited although nearly two years old.
Collection: Moving Picture World, April 1914