Praise for Harold Shaw (1914) 🇺🇸
As guests of Mr. Cromelin his friends throng Strand and are enthusiastic over his first English work.
Just before he sailed for England nearly a year ago to become chief producer for the London Film Company, Harold M. Shaw confided to a friend that he realized the great opportunities his new alliance had opened to him — and likewise he appreciated to the full the responsibilities he was assuming. At that time the English film manufacturers were not in the position they are today. It was, if we recall, about June 1 when Mr. Shaw left New York.
His first work for the London company was The House of Temperley . It was not shown publicly in the English metropolis until September 1. The many intervening weeks are silent testimony to the deliberation with which Mr. Shaw went about his new work. Come to think of it, he told us before he sailed that it was the desire of his employers that he take things easy for the first month, that he travel about the British Isles and on his own account learn what the English market demanded in the way of pictures. The marked advance in photodrama on the part of English manufacturers may have taken place just as it did if Mr. Shaw had not so splendidly shown the path in The House of Temperly. His friends must be permitted at least to call attention to the coincidence.
As the guests of Paul H. Cromelin, the American representative of the London Film Company, a large number of the New York friends of Mr. Shaw attended the performance of The House of Temperley at the Strand Theater on the afternoon of Monday, May 11. There was only one factor lacking, and that was the presence of Mr. Shaw himself. What he would have heard had he been there would have been worth remembering. All the elements of drama were not portrayed on the screen.
To many who witnessed in such elaborate surroundings the initial American showing of Mr. Shaw’s first production on English soil it was more than an ordinary triumph. The masterly manner in which he put on the story of Sir Arthur Conan Doyle tightly held the big house and moved it, too. It is a singularly smooth and convincing story — and finely acted. So cleverly has the development been carried forward that even those violently opposed to anything remotely savoring of the prize ring will rejoice at the downfall of the pugilist. In the first reel the artistic backgrounds appeal to the eye as the story stirs the heart. In the succeeding scenes there are many situations that stir the blood. The dénouement is splendidly effective.
Harold M. Shaw entered the theatrical profession in 1893, leaving San Francisco with The German Soldier. His training began from the ground up, and in those days the youngest member of the company always had to act as property man as well as play a small part, which he was doing. After many vicissitudes with various repertoire and one-night-stand companies he joined the Lothrops Stock Company in Rhode Island. Mr. Shaw spent five years in various stock companies. Later in repertoire with Miss Amelia Bingham he played juvenile and light comedy parts. The following season Mr. Shaw played Captain Absolute with Joseph Jefferson in The Rivals.
On the death of Mr. Jefferson Mr. Shaw left the profession for two years. During that time he engaged in business in San Francisco. At the close of 1907 he played sketches written by himself. He had two successful seasons.
It was about this time that he was induced to join the Edison stock company, where he soon rose to the position of producer. Later he resigned to join Carl Laemmle’s “Imp” company, where he remained till the very liberal offer of the London Film Company tempted him to become its chief producer. Those who best knew Mr. Shaw had no doubt he would make good. That he should score so heavily in his first picture will give them deep pleasure.
G. B.
Collection: Moving Picture World, May 1914
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