Ivan Abramson, Master Craftsman (1916) 🇺🇸
Like all new arts, that of the photoplay found its workers engaged in different spheres. It gathered its laborers from the stage, the desk and the laboratory, and to this new field none came better equipped than Ivan Abramson, director general of the Ivan Productions, the genius who is directly responsible for the phenomenal success of the Ivan feature plays.
As one of the foremost producers of grand opera, Mr. Abramson is well known to the theatre going public of the country, the largest traveling opera organization being under his management for a number of years. He was the manager of the greatest stars known to the Yiddish stage. Jacob P. Adler, Sarah Adler and Mme. Malvine Lobel are some of the artists he has handled.
Among other things, the most successful plays produced on the Jewish stage, emanated from his brain. And when the era of feature photoplays dawned, Ivan Abramson was one of the first to realize their possibilities, and two years ago he organized the Ivan Film Productions.
As a director of feature photoplays, his record is monumental. Such dramas as his latest productions, Forbidden Fruit, and A Fool’s Paradise, are rarely excelled both as to story and direction. Each play he directs, Mr. Abramson creates himself.
Among the feature photodramas which Mr. Abramson has directed are, Should a Woman Divorce, The Unwelcome Wife, A Mother’s Confession, Concealed Truth, Forbidden Fruit, and A Fool’s Paradise. At present Mr. Abramson is engaged in producing his latest work, The Immortal Flame.
—
Coming Selig Releases
Kathlyn Williams to appear in her first railroad drama — Selig strong for single reels.
Number 13, Westbound is the title of the first drama of railroad life in which Kathlyn Williams ever appeared. Despite the fact that this star of Filmland has undertaken hundreds of different character roles running the entire gamut from wild animal dramas and comedies to The Adventures of Kathlyn, she never in her varied career as a motion picture star took a chance with a flying locomotive. The drama has to do with a girl who saved hundreds of lives by flagging an express train. As the signals, the girl, overcome with fright, faints in the pathway of the approaching locomotive which is checked just a few inches from her prostrate body. Number 13, Westbound, will be release in General Film Service on Monday, March 20. There are three reels of sensational occurrences. The comedy relief in this drama is something new to film dramas of the rail. Miss Williams is supported by Guy Oliver and an all-star cast.
On Monday, March 27, the Selig Company will release through General Film service an unusual society drama entitled, A Social Deception, featuring Harry Mestayer and Eugenie Besserer. There are a succession of surprises in this drama and some unusual scenic effects. A carefully selected company of Selig stars enact interesting roles. The Selig Polyscope Company has now on file many letters written by exhibitors in eighteen states praising the Selig-Tribune, the new news film released twice weekly through General Film service. The new style of poster originated for the Selig-Tribune has also been universally praised.
The old argument of the worth of the one-reel pictureplay is again being discussed pro and con. One significant action was recently taken by a large film manufacturing company which has curtailed production of five-reel subjects to return to that “first love,” the single-reelers. William N. Selig, president of the Selig Polyscope Company, is one prominent film manufacturer who has staunchly held to his ideas of the worth of picture-plays in one reel. While it is true that the Selig Company is noted for its spectacular dramas, yet Mr. Selig has never permitted his single reel productions to suffer and has gone right ahead releasing one-reel pictureplays while others have eliminated this class of film from their programs.
That Mr. Selig’s policy was a far-sighted one is shown by the recent revival of one-reel picture-plays and the statements of several manufacturers that they will again return to the production of one-reel comedies and dramas. “There will always be a demand for short-length films of worthiness,” said Mr. Selig recently. “We have spared no expense or care in the stories and the production of our one and two-reelers and our sales have jumped within the past few months to a figure that is most gratifying. The public will always demand good comedies and dramas in one and two reels, and I should not be surprised to witness a strong revival of the split-reel film. Feature films have won decisive and lasting favor, it is true, but shorter length films have never really lost favor with the public.”
—
Marguerite Snow Recovering from Injury.
Marguerite Snow, the Metro star, who was last seen in The Upstart and Rosemary, and who has just completed the stellar role in the new five-part production, A Corner in Cotton, has just recovered from injuries she received while working in her last feature, and which nearly cost her her life.
While racing in an old-fashioned buckboard to catch a train on the outskirts of Savannah, Ga., one of the rear wheels came off and Miss Snow was thrown violently to the roadway.
She rolled for several feet over the gravel and rocky surface, and in addition to severe bruises and scratches all over her body and face she suffered three fractured ribs.
—
Burger Leaves Pathé.
J. K. Burger, for the last four years connected in the film industry, has tendered his resignation to the Pathé Company. Mr. Burger’s many friends and acquaintances will be surprised to learn of his decision to leave Pathé. He has made no definite plans for the future.
Mr. Burger’s experience for the last four years has been of a broad scope, having been connected with the old Mutual Organization, the World Special Film Corporation, and having been in the capacity of auditor, comptroller, special representative and district manager for Pathé.
Collection: Moving Picture World, March 1916
—
see also Ora Carew Joins Universal (1916)