George S. Trimble (1915) 🇺🇸
George S. Trimble of the Lubin players who can step on a pair of scales any hour of the day and make the arrow spin around to the 275 pound notch, is one of the most versatile of the character men in the studio, especially when it comes to comedy, and well he might be, for Trimble has a quarter of a century of theatrical and operatic experience back of him.
Trimble was playing the part of an inn keeper in Patsy Bolivar, and Peter Lang was an irate father and they started to chase and capture an eloping couple. The couple, both lightweights, waded across a swamp in part of the chase scene. Trimble and Lang floundered after them until they got into the middle of the swamp and there they both stuck fast. The more they struggled the deeper in they sank. To get the pair of heavyweights out it was necessary to utilize a stout rope and a horse.
Trimble is an actor of the old school and played with such stars as Barrett, Willard, Mansfield, Keen and Lewis Morrison. His first engagement was with Haverley’s minstrels as a bass singer, after which he took up the serious drama, playing the leads and heavies in an extensive repertoire. Returning to minstrelsy he made the trip to England with Haverley’s Mastodons and came back to America to sing the bass roles with Pauline Hall in the Gilbert and Sullivan Operas.
Following this engagement Trimble became associated with Dan Daly, Andrew Mack and George Fortescue; played one season with Mansfield, played a couple of seasons with Keen and then made a trip to Honolulu with Nance O’Neil and L. R. Stockwell and McKee Rankin. Upon his return Trimble joined Lewis Morrison, then playing a repertoire of classical plays. He next made a tour of the world with Nance O’Neil and McKee Rankin, returning after a two years’ trip to join Lewis Morrison again. The following year and for three successive years he was featured in the role of Mephisto in Faust. During these different engagements Trimble was stage director for Morrison and produced the first version of Frederick the Great. He was also stage director at Moroscos in San Francisco, Stevens in Oakland, and Forepaugh in Cincinnati.
When Trimble gave up stage work he joined the Lubin forces and has been there ever since.
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“The Renegade”
Two-Reel Broncho of intrinsic interest and superior treatment.
Reviewed by Louis Reeves Harrison.
Artistic covers the entire treatment of The Renegade, and this applies to the very pretty conclusion. The mounting of a play of this kind, presenting as it does scenes in darkest Africa and glimpses of high life in England is a craft by itself. To be sure, it is called into existence for the sake of a larger art, but it has a positive function in moving pictures and one to which little attention is given by directors. The fine taste shown in The Renegade gives evidence that the art of producing is composite. The play contains the theme, the plot, the characters, and, above all things, the structure, but it usually meets with pictured expression so inadequate that it is spoiled in the handling. In this case it is glorified by a splendid harmony of treatment from start to finish.
Robert Graves is a white slaver in dark Africa, with a body of slave traders from Morocco under Ali Hamid to call upon in an emergency. The emergency arrives when Captain Marley appears with a body of troops to capture Graves. The troops are surrounded and annihilated with the exception of a sergeant who escapes, and Captain Marley who is captured and thrown into captivity. He is chained to the naked blacks and sold to Ali Hamid as a body servant. He thus meets Normah, a beautiful slave girl, and so completely wins her affections that she plots to spare him further degradation.
Robert Graves has found a letter in the possession of Marley which identifies him as the heir to a title and a fortune. Graves goes to England and successfully impersonates Marley for a while. He enters upon possession of a magnificent estate and the guardianship of a young girl, Alice Craven, whom it is intended that Marley shall wed. The impostor’s conduct, especially under the influence of drink, repels the girl, and she gives her heart to a suitor in humble circumstances.
The sergeant who escaped finds his way to the main body of English troops and they set forth to rescue Captain Marley. He meets them on their way, having been assisted to escape by Normah. He returns to England and presents his claim so convincingly that he is permitted to expose the impostor in an ingenious manner. He recovers his estate, but he finds that Alice Craven has made a natural selection, and he gives it his benediction. The conclusion is a very deft touch, one entirely satisfactory without being commonplace, one which must be seen to be appreciated.
The story itself is interesting, and it is raised far above the average by an artistic taste that fits the presentation beautifully to the play. The charm of it is that, far from being intrusive, it concentrates attention on the action. It accomplishes what the sympathetic accompaniment does for the song.
Scene from The Renegade (Broncho).
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Kosch back from Canada.
H. G. Kosch, the treasurer of the Alliance Films Corporation, returned last week from a visit to Canada to look over the exchanges of the Allied Features, Inc., distributors of the Alliance Program in the Dominion. While there, Mr. Kosch spent a considerable part of his time in studying the situation and in getting a general insight into conditions.
“The Canadian film man,” said Mr. Kosch, “is seriously handicapped in his operations by not only a rigorous censorship but a very high import tax which is levied upon film coming from the ‘States.’ Why this is necessary I failed to realize, for Canada has but a small film industry to protect from foreign competition, and I hope that these laws will be repealed or amended.
“Business is not being hit as hard as one would expect by the war; the Canadians apparently are attending to their affairs undisturbed by the present and confident that all will be well in the future.”
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J. W. Cotter joins Kriterion.
J. W. Cotter, well known to the trade in the central and southwestern territory, was recently appointed manager of the Kriterion offices at St. Louis, Mo. He will have offices at 3217 Locust Street.
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Henri Gachon dies from wounds.
Henri Gachon, formerly head of the negative department of the Eastern laboratories of the Universal Company, died in France recently from a bayonet wound received in a severe engagement in the Vosges. Mr. Gachon was one of the first to leave for France when the call to arms was made.
Collection: Moving Picture World, March 1915