What Kind of a Fellow Is — Rothacker? (1918) 🇺🇸
Being a glance at the real human side of the big men of the picture game caught in action
by William A. Johnston
Every now and then — frequently — the Twentieth Century glides into New*York, smoothly reverses brakes and emits a pleasant breeze from the West — beg pardon, we mean Chicago.
The pleasant breeze take on the form of a well-tailored, well-barbered, well-shod — oh, well, yes, a well-looking, well liked, young man who circulates breezily and snappily in and out of the main arteries of the business and Twentieth Centuries smilingly homeward with a fat bundle of printing contracts under his arm.
His name is Rothacker.
Perhaps you think of “Rothacker” as an institution — a studio laboratory, modern, striking and solid like the advertising nameplate of “Rothacker.”
He is an institution; a pretty solid one made by himself, but we and many others know him as “Watty.” So of Watty we would write. With the memories of the Directors ball fresh in our minds we cannot help but speak of Watty’s dancing.
Indeed we made a mental study that evening of film men as dancers. We picked R. A. Rowland as the worst dancer and “Watty” as the best.
R. A. Rowland starts off as if he wanted to see a man on business straight across at the other end of “the hall. Every now and then he discovers that he has a partner attached loosely to his wrist whereupon he indulges in a slight attack of locomotor ataxia and then hurries straight on. (We spoke of this to Mr.*Rowland, whereupon he told us very quickly and frankly to go to a certain place.)
But Watty dances.
Yet it was not his grace we admired so much as his rapid method of circulation. He danced with all the wives, aunts, sisters and cousins of all the men present with whom he is or may be doing business. He certainly covered the field. He was here, there and everywhere. All the wives, aunts, sisters and cousins smiled at him — and the male relatives smiled at him — and Watty smiled back — and everybody smiled. As for us, we stood around like a stick, and our only effort at conversation uncovered Mr, Rowland’s profanity. So as a business man we envied Watty.
He has a way with him, which is another form of saying that he has personality.
His is politic. Yet he’s blunt and straight to the point.
Probably he’s blunter with us than others because he v/as once in the trade-paper business. It’s almost embarrassing for two trade paper men to talk at each other in a polite or platitudinous manner.
But he’s all business is Watty — with all his natty appearance, and good looks and smile and diplomacy. He’s a darn good business man — is Rothacker of Chicago. He’s a practical fellow.
He just wrote us a letter which opened and ended very politely and cordially, but which indicated in between in straight Chicagoese that he had paid Harry Palmer for the sketch of himself, and that he looked for a write-up and didn’t want any nonsense about it — nor to pay for any lunches as Winik [Hyman Winik] did.
He admits that he originated the moving pictures advertising business, was the first and only specialist in that field in 1910, and that to-day he has the largest laboratory-studio in America, housing among other large jobs, all of the developing and printing for the First National Exhibitors’ Circuit, including Madame Petrova, Master Charlie Chaplin, etc., pictures.
All right, Watty, you win. We’d much rather write about you. But if you insist upon these sordid business details why here they are.
We wanted to speak of your progressiveness and aggressiveness, the fact that young as you are you have been honored right along by prominent appointments within the industry, that you are a leading citizen of Chicago, that you know more people and are known to more in the industry than almost any man, that you are self-made and needn’t be criticized for the job — and any number of such things.
But now you see, we haven’t room.
So long, Watty.
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Tom Vallance, business manager for Harry Lauder, the Scotch comedian himself, Charlie Chaplin and Sid Chaplin were caught by the camera at Chaplin’s new studio in Hollywood
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Chaplin in War Relief Picture
Appears with Harry Lauder in short reel for exploitation everywhere — comedian expects big results
Combining two distinct brands of comedy for the purpose of raising a million dollars or more, Charlie Chaplin and Harry Lauder, the world’s laugh producers, have been filmed together in a five-hundred-foot subject which will shortly be exploited throughout this country and the other allied nations, and the net proceeds will be added to Lauder’s $5,000,000 War Relief Fund.
The idea was conceived by the screen star when he was entertaining Lauder at his new motion picture plant in Hollywood. The plan so strongly appealed to the Scotch humorist that not a moment was lost in carrying it out, and two hours later the camera had filmed what is claimed to be the most unique comedy ever made.
Chaplin and louder comprise the entire cast and the story is a collaboration of these two performers. There is only one scene in the picture and during a large part of the pantomime Lauder has adopted the Chaplin style and the screen star takes a fling at the characteristics for which the Scotchman i’ widely known.
When the story was completed, the two comedians, with their personal business managers, Tom Vallance and Sydney Chaplin, took up the subject of turning the film into money, and it was decided that the entire Chaplin organization would be used to further the success of the venture.
Much depends upon the action of the First National Exhibitors’ Circuit, the corporation holding the contract for Chaplin’s exclusive services. They are the ones who will determine whether it will be a violation of contract to exploit him in the manner suggested.
Efforts will also be made to raise an additional sum of money through the sale of fifty thousand photographs of the two comedians. A dozen different poses were taken and plans for the sale and distribution of these will be arranged by the two business managers.
Chaplin is confident that the sale of the film will net at least one*million*dollars.
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Crandall Theatre Roof Caves In
The roof of Harry M. Crandall’s new Metropolitan theatre, at Tenth and F Streets, N. W., Washington, which house Mr.*Crandall expected to open shortly, caved in January*30, carrying with it the balcony and causing damage to the extent of about $30,000.
Despite this handicap, Mr.*Crandall is going ahead with the construction of the theatre and expects to open it about two months later than the time originally set.
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In and Out of Town
W. E. Drummond, Special Features Company, Knoxville, Tenn., spent last week in New*York looking at the current offerings. I Ic took back with him several features for distribution in his territory.
O. D. Woodward, of Denver and Kansas*City, came to New*York last week for the purpose of completing plans for the production of special features in Denver. Mr.*Woodward stopped at the Astor Hotel. He will start producing in Denver upon his return.
R. P. Madden, who has been the U.*S. Exhibitors’ Booking Corporation representative in Canada, arrived in New*York last week. Mr.*Madden will be assigned another territory to work in the interest of the same organization.
M. H. Hoffman, president and general manager of Foursquare Pictures, returned to the New*York office last week after an extended trip through the country, which took him to every Foursquare Exchange.
Carlos Crombe, an exhibitor of Mexico*City, Mexico, is in New*York. Mr.*Crombe is the owner of the Parisiana theatre, one of the largest in that city.
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World’s Free Service Appreciated
World Film Corporation’s Chicago office has received the following communication from President Joseph Hopp of the Illinois branch of the Exhibitors’ League: Manager of the Chicago Branch of the World Film Corporation, 207*South Wabash Avenue, Chicago.
Dear Sir;
Through you I commend the course of the World Film Corporation in recognizing that exhibitors are meeting unusual adverse conditions. In offering your patrons repeater service free of charge you are doing something practical. Actions speak louder than words. Instead of expressing sympathy your company is doing something material. It is the kind of aid worth while during these times when exhibitors find it difficult to make both ends meet.
Very truly yours,
Joseph Hopp,
President Motion Picture Exhibitors’ League of America — Illinois Branch.
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Fire Proclamation Used by Universal
The proclamation on fire prevention recently issued by Mayor*Hylan, of New*York City, has been illustrated in motion pictures by the Industrial Department of the Universal Film Manufacturing Company. This first link in an educational campaign of fire prevention is to be shown to the public in one of the early issues of the Universal Animated Weekly.
The campaign is receiving the personal attention of Harry Levey, manager of the Universal’s Industrial Department.
Illustration by: Harry Palmer (Harry Samuel Palmer) (1882–1955)
Collection: Motion Picture News, February 1918
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see also Watterson R. Rothacker — A Specialist in a Fine Art (1918)