Howell Hansel (1915) 🇺🇸
From the The Million Dollar Mystery, with its crashing succession of punches, to the pure burlesque of a Dressler farce is about as wide a gulf as can be imagined in photoplay production, but after completing the Million Dollar Mystery, Howell Hansel washed the accumulated gore from his hands, bade farewell to Jones the Butler, shook the dust of New Rochelle from his feet and headed for Lubinville, where he at once plunged into the intricacies of Tillie’s Tomato Surprise, the new multiple reel written by Acton Davies, former critic of the New York Evening Sun, for Miss Marie Dressler.
This is an age of specialization, but Mr. Hansel is a specialist in motion pictures in general and not in one branch in particular. He has made the Dressler comedy with the care and finesse of the dramatic producer, and this care shows upon the screen in a certainty of effect that is- too generally lacking in comedy, even of the pretentious sort. It should give him a place among the best comedy directors equal to that he already holds as a dramatic producer.
Mr. Hansel has made a number of important feature productions as well as regular releases for the Mutual and Universal programs. One of his most marked successes among the feature releases was Col. Carter, of Cartersville, and his Ben Bolt was one of the best sellers on the Fox program.
He has had a long and varied career as dramatic player and producer. He has filled many important engagements as stock and production stage manager, and was for three years with David Belasco as leading man, immediately prior to his entrance into the picture business.
—
Mexican Notes
Chihuahua, Mexico, Aug. 9, 1915.
The long threatened complete close down of all the picture theaters in this country is now more than a mere possibility. Undoubtedly ninety-nine per cent, of all exhibitors are at present running merely to keep up the prestige of their houses and to maintain their organizations. Very few houses are earning a profit, but because of a hope of better future business, most exhibitors have managed to keep open up to the present time. However, the showdown is not far off, if conditions continue as at present. It is now almost impossible to secure film service. During last week Stahl Brothers, who supply films to a great number of houses in Central and Northern Mexico, have canceled all contracts, and ordered all films returned immediately. The El Paso Film Co., which also supplies a large number of houses, has done likewise. Thus the exhibitor is face to face with the critical condition of no film service, which means dark houses.
—
Don Manuel Rivero, one of Mexico’s old impresarios, and at one time manager of the Lombardi Grand Opera Company, is in this city at present, having brought with him a number of European feature films, which are being shown at “The Alcazar.” Among these are: Inheritance of Hate (Cines), nine reels; Adventures of Arizona Bill (Eclipse), five reels, and others.
Don Manuel left Mexico City last February, and has since that time been touring the republic with a collection of films. Under great difficulties he has managed to complete his trip to the border, greatly handicapped by the lack of railway communications. Naturally Signor Rivero has had a splendid opportunity to look over the entire Mexican picture field. “While I have found conditions by no means ideal,” says Don Manuel, “I have not found them as bad as one would be led to believe by some alarmist reports. Of course one finds discontent over the low-value of the fiat money, but there is plenty of it, and houses as a rule have splendid crowds. I ran my pictures, for instance, at Monterey at two different houses, with good box office receipts at each. “The Obrero” is a splendid house with a capacity of 5,000. It is an innovation in this country as it has been built to run high-grade films at low prices, with special reference, as its name, “The Laborer,” indicates, to the needs of the laboring man. There is a lack of film service, which is further aggravated by poor railway and express service. I have been impressed with the great opportunity which Mexico offers as a motion picture field. I have found everywhere, except in the extreme north, a decided prejudice against American films. This is possibly because Mexican audiences have never had an opportunity to become acquainted with the best American productions, while the finest products of Europe’s studios have been at our disposal. But maybe American producers will be better prepared to show us what they can do when at last we have peace here.
—
Briefs.
Because no agreement could be reached in regard to the price, the sale of the Alcazar to a group of Guadalajara capitalists was not consummated, hence it continues under the management of Buchez & Williams.
—
Alberto P. Damiani’s new picture house, “The Azteca,” was opened to the public the night of the 31st of July. The house seats about seven hundred people and is the first show in this city to be located in a suburb and away from the downtown district. A Powers projector has been installed. The venture will prove a complete success, judging from the box office receipts for the first week.
—
Manuel Sanabia passed through this city on his way to Ciudad Juarez during the present week. He intends to open a tent show in that border city.
—
The Salo Variedades of this city has been closed indefinitely. Manager Symons, who formerly had charge of the Variedades, continues to manage the Cine Club, which for the past weeks has been running a program of pictures and vaudeville.
—
Following instructions received from headquarters, the American Smelting & Refining Co. has ordered Manager Williams to await further developments before throwing open the doors of the Alcazar No. 2, at the above-mentioned company’s smelting plant near this city. The house is now ready to open, and as soon as the critical conditions now existing’ in the city improve the opening will take place.
Harry B. Ott.
—
Nine Foys Keystoning with Sennett.
Eddie Foy was engaged to star under the direction of Mack Sennett with the Keystone Film Company. After he arrived at the studio at Edendale, Cal., it was decided to include the seven little Foys in the first picture. They all took to the Keystone idea with all the enthusiasm and ease of old-time film comedians. Mother Foy remained at the Foy cottage at Santa Monica for the first few days, but before the end of the first week she appeared at the studio, “just to watch them work.” After sitting at the filmside for part of an hour the director, not recognizing her, shouted “come on here, get in this scene.” Mother Foy “got in” and before Eddie or any of the seven realized it she was working with all the vim of the rest of the family. The next morning the callboy megaphoned, “the fifty-seven Foys on the set,” and got a general laugh.
—
George Ovey with Mutual.
The Little Hero and Jerry’s Busy Day, first of the new Cub Comedies to be produced by David Horsley for release in the regular Mutual Program, the first for release August 19 and the second August 26, finds George Ovey, the featured player in these productions, more than living up to his reputation as one of the funniest and most original comedians in picture work. Both productions were screened under the personal direction of Milton H. Fahrney, chief comedy director for Mr. Horsley. Ovey, who is making his initial bow to Mutual audiences in these two comedies, in each instance has been furnished with roles that give him exceptional opportunities of displaying his many talents which have won for him an enviable reputation as a screen comedian.
—
Ormston Now Technical Director.
Frank Ormston, who has long been connected with the Universal Film Company in a technical capacity, was this week made head of the technical department at Universal City. For the past six weeks, Mr. Ormston has been with the Smalleys’ [Phillips Smalley] producing company in Chicago, where they have been staging the scenes in the production of The Dumb Girl of Portici, in which Anna Pavlowa is to be featured.
Collection: Moving Picture World, August 1915