Tag Archives: 1913

Cymbeline (1912)

Cymbeline, Straight adaptation, Thanhouser, , , , , ,

Cymbeline (1912), dir. Frederick Sullivan/Thanhouser

No IMDb entry

Cast:

Imogen: Florence La Badie
Leonatus: James Cruze
William Garwood
William Russell
Jean Darnell

Advertisement: Motography 9, no. 7 (April 5, 1913):8: URL: http://www.archive.org/stream/motography09elec#page/n619/mode/2up

“Cymbeline,” The Moving Picture World 16, no. 1 (April 5, 1913): 50. URL: http://www.archive.org/stream/movingpicturewor16movi#page/50/mode/2up

“Cymbeline (Thanhouser), March 28. The Shakesperian drama is here worked out in two reels, with good scenic effects. Flo LaBadie and James Cruze play the parts of Imogene and Leonatus, but the whole Thanhouser Company joins forces to make the cast a balanced one. The costuming is sumptuous and the scenes pleasing throughout because of their clean-cut staging. The visit of the Roman officer to Iraogene’s bed chamber, where he takes the bracelet from her wrist as she sleeps, was artistically presented. The battle scenes in the second reel hold the interest well; also the manner in which the separated family of Cymbeline finally becomes reunited. A good offering.”

“Cymbeline,” The Moving Picture World 16, no. 1 (April 5, 1913):60. URL: http://www.archive.org/stream/movingpicturewor16movi#page/60/mode/2up

“This two-reel production of the Shakespearean play. “Cymbeline.” taken in California, shows a praisworthy ambition on the part of the producer. “Cymbeline” is singularly well adapted to rendition in motion pictures, and the director has presented some of the dramatic moments in the play with a fair degree of success. Much pains was evidently taken in a laudable endeavor to be correct in historic details. The scene in Rome where the wager is made between Leonatus and Iachimo to test the fidelity of Imogen was rendered not without skill. Another scene deserving of some praise is the entrance of Iachimo into the bed chamber of Imogen. The situation is handled with great delicacy and follow the spirit of the Shakespearean play. The groupings in the scenes showing the court of Cymbeline seem to lack artistic arrangement. Skilful handling of large groups before the camera is a great art. the lack of which has an ill effect upon the eye. Some of the outdoor settings are beautiful, but in one of them the obtrusion of a decidedly modern house tends to destroy the illusion. On the whole I think that this feature ought to be acceptable to the average motion picture audience, and the producer deserves very great credit for seeking to aim high. Such pictures, though there may be blemishes in the execution, strengthen our hope in the future of kinematography.”

“Cymbeline,” The Moving Picture News 7, no. 12 (March 22, 1913):23. URL: http://www.archive.org/stream/movingpicturenew07unse#page/n423/mode/2up

“CYMBELINE (Part I) (March 28) Cymbeline was King of Britain at the time of the Roman Empire. His only heir was his daughter, Imogen, whom he deeply loved. Imogen had two elder brothers, but they had been stolen before her birth, and it was believed they were dead. As it turned out later, Belarius, a nobleman who had been banished by Cymbeline, had revenged himself by spiriting the children away, and he brought them up as woodsmen and in ignorance of their noble birth.

Imogen had a stepmother, a haughty, cruel woman, who was deeply jealous of the girl. The queen had a son by a former marriage, and she planned to insure her own supremacy by wedding the son to Imogen. The king approved of the match, but the princess declined the alliance, being secretly in love with a young nobleman named Leonatus. The persecutions of her stepmother continued and finally the girl, yielding to her suitor’s pleas, consented to secretly marry him. The queen learned what had happened, informed the king, and Leonatus was bainshed, taking up his residence in Rome. There he mourned his lost love and, on one occasion when other gallants were boasting of their ladies fair, he impulsively declared that none could compare with his princess. Iachimo, a foolish nobleman, took exceptions to his remarks, wagered that he would win the favor of Imogen, and in token of his success, return with a jeweled bracelet, the gift of Leonatus to her. On his part Leonatus pledged himself, if he lost, to hand over to Iachimo the ring Imogen had given him when he was sent into exile.

Iachimo went to Cymbeline’s court and was welcomed by Imogen wh°n he told her he Was her husband’s friend. When he made love to her, however, his advances were spurned with indignation, and the crafty Roman saw that his wager was lost. He then resorted to treachery, entering Imogen’s room at night, hiding in a trunk until she was asleep, and then stealthily removing the treasured bracelet from her arm. With this lying proof of Imogen’s dishonor, Iachimo returned to Rome and forced Leonatus to confess that Iachimo had won the wager. Half beside himself with rage and grief, Leonatus planned the death of his gentle bride. Through his faithful servitor. Pisano, he sent Imogen a loving letter asking her to meet him at a lonely spot outside of Cymbeline’s domain, explaining that it meant death to him if he entered the territory of Britain. There was another note, however, addressed to Pisano, in which Leanatus commanded his follower to slay Imogen when she had been lured out of Britain. Imogen received the note with rapture and, after consulting with Pisano, disguised herself as a page and trustingly accompanied Pisano to the place selected by her revengeful husband as her grave.

PART II. Leonatus was banished from the court of Britain because he secretly married Imogen, the daughter of King Cymbeline. A crafty Roman nobleman, named Iachimo, convinced Leonatus that his wife was untrue to him, so he planned her death. Dressed as a page she went to a lonely spot outside Britain expecting to meet her husband as he had promised in a letter. She found, however, that she had been enticed there to meet death, but her husband’s servitor experienced remorse and at the last moment declined to stain his hands with innocent blood. Imogen, grief-stricken, refused to return to her father’s court, and wandered out into the world. The servant sent word to Leonatus in Rome that Imogen was dead, and Leonatus, who now regretted his hasty and cruel action, bitterly reproached himself.

In her wanderings through the forest Imogen came upon the cavern home of three woodsmen, an old man and two young men. They did not suspect that the graceful page was a girl in disguise, and became devoted friends. The young men were the sons of King Cymbeline, who had been stolen from the palace when children and brought up as woodsmen without any knowledge of their royal birth. At the court they had long been mourned as dead.

About this time the army of Rome invaded Britain and the forces of King Cymbeline were rallied to oppose them. Among those who cheerfully offered themselves were the woodsmen and the two youths who unwittingly were battling for their father. In the fight which ensued these young men, aided by a supposed peasant, turned the tide of battle and brought victory to the forces of King Cymbeline. When the enemy had been captured the heroes were brought before Cymbeline and warmly commended. As this a peasant stepped forward Cymbeline recognized in him Leonatus, who, having heard of the proposed invasion, had fled from Rome to offer his services to his country.

A greater surprise was in store, however, when the woodsmen stepped forward. The eldest of the three told Cymbeline that he was Belarius, who had been banished years before and had plotted revenge; then, pointing to his youthful companions, he said to the King, “Sire, I stole your sons as babies, and I give them back to you.” The king greeted them affectionately, and pardoned Belarius.

Among the Roman prisoners was Tachimo, wounded and dying. The approach of death caused him to confess that he had cruelly maligned Imogen, and he explained to Leonatus how he secured Imogen’s bracelet, not as a lover but as a thief. Leonatus, racked with remorse, was about to slay himself when from the group of prisoners nearby a young page bounded, seized the weapon and hurled it from him. He gazed at the page and recognized his beloved wife. She had been captured by the Romans prior to the battle and forced to act as the general’s servitor.

Humbly Leonatus begged his wife’s forgiveness. Graciously she granted it and the sorrows of the past were forgotten in the happiness of the present and the bright hopes of the future.”

 

 

Julius Caesar (1913) 2

Famous Players Films, Julius Caesar, Straight adaptation, , , ,

Julius Caesar (1913), dir. unknown/Famous Players Films

No IMDb entry

Cast:
Julius Caesar: William Faversham
Portia: Julie Opp

“Of Interest to the Trade: Will Faversham Sign Contract?” Motography 10, no. 12 (Dec. 13. 1913):445. URL: http://www.archive.org/stream/motography10elec#page/444/mode/2up/

William Faversham, now appearing on the Pacific Coast in “Julius Caesar,” is the latest of the world’s great actors to be approached by a moving picture concern with a rich offer for his services before the moving picture camera. Thomas H. Ince, managing director and vice president of the New York Motion Picture Corporation, has been negotiating for the last two weeks
with the actor to consent to appear in six photoplays, one of which shall be a presentation of Julius Caesar. According to Mr. Faversham’s manager, $50,000 was the offer made the star to appear in these plays.

Mr. Ince is prepared to erect a mammoth representation of a Roman Forum and Capitol on the Plateau near the Santa Monica studio for the big scenes in the Shakespearian drama and to provide mobs of upwards of one thousand supernumeraries for the crowd scenes. The contract Mr. Ince has offered Mr. Faversham calls for his return to Los Angeles at the conclusion of his present tour. It is understood that the deal will hang fire until Mr. Faversham’s present engagement is closed.

Advertisement: Variety 29, no. 1 (Dec. 6, 1912 ):183. URL: http://www.archive.org/stream/variety29-1912-12#page/n259/mode/2up/

Advertisement: Moving Picture World 14, no. 12 (Dec. 21, 1912 ):1217. URL: http://www.archive.org/stream/movinwor14chal#page/n1221/mode/2up/

“Famous Players Films,” Variety 21, no. 8 (Jan. 24, 1913):8. (excerpt) URL: http://www.archive.org/stream/variety29-1913-01#page/n127/mode/2up/

The Zukor Company plans elaborate film displays of Blanche Bates, who will likely follow Miss Barrymore’s picture, Henry E. Dixey, Sir Herbert Beerbohm-Tree, William Faversham and Julie Opp in “Julius Caesar,” Mrs. Minnie Maddern Fiske, Weber & Fields and others.

 

Julius Caesar (1913) 1

Edison Kinetophone, Julius Caesar, Straight adaptation, , , ,

Julius Caesar (1913), dir. Allen Ramsey/Edison Kinetophone

Cast:
Brutus: Antony Andre

Listing: Variety, no. 1 (March 7, 1913):30. URL: http://www.archive.org/stream/variety30-1913-03#page/n29/mode/2up/

Listing: Variety 30, no. 1 (March 7, 1913):34. URL: http://www.archive.org/stream/variety30-1913-03#page/n33/mode/2up/

“Orpheum,” Variety 30, no. 3 (March 21, 1913):27. URL: http://www.archive.org/stream/variety30-1913-03#page/n109/mode/2up/

Listing: Variety 30, no. 4 (March 28, 1913):32. URL: http://www.archive.org/stream/variety30-1913-03#page/n155/mode/2up/

“Washington, D. C.,”  Moving Picture News 7. no. 16 (April 19, 1913):29 (excerpt) URL: http://www.archive.org/stream/movingpicturenew07unse#page/n573/mode/2up/

The initial appearance of the Edison talking pictures in the capital of the nation marked an epoch in filmdom here. They are booked as a feature at Chase’s Theatre, Washington’s newest and handsomest playhouse, the home of polite vaudeville. With a seating capacity of 2,000, this theatre held a record of 10,000 patrons during the first three days of the advent of the talking pictures, and a goodly part of the audience of each show of one hour and a half remained for two performances to fully appreciate the new sensation of the latest Edison invention. They are wonderful and seem almost unreal on first hearing. The sound production with motion is fascinating and has already gripped the photoplay fan. The talking pictures shown for the first week at Chase’s were “A Descriptive Lecture” and “The Edison Minstrels.” The next offerings were “The Quarrel Scene” from Julius Caesar and ”The Temptation of Faust,” which were even more wonderful.

It means progress to the moving picture industry when a grand theatre like Chase’s turns to exclusive motion pictures for its summer season with a general admission of 10 cents from 1 o’clock to 11. Each show includes several kinemacolors, two talking pictures and several black and white reels, with a change of bill daily except with the kinetophones.

“Actors’ Free Services Asked for ‘Talkers’,” Variety 21, no. 13 (Feb. 28, 1913):7. URL: http://www.archive.org/stream/variety29-1913-02#page/n129/mode/2up/

New Edison Talking Pictures Seeking Vaudeville Acts Without Compensation. Acts Refusing Through Danger of Having Time Cancelled Where Picture Previously Appears, or Want Big Money for Sacrifice. “Talkers” This Week Fall Down.

The vaudeville actor is resenting what is called an imposition attempted by John J. Murdock, of the Edison Talking Picture affair, through Murdock taking advantage of his position in the United Booking Offices in asking acts to speak and pose before the camera for nothing.

A danger to the vaudeville act of appearing before the camera and phonograph is the talking picture of themselves may be shown ahead of their appearance in cities booked through the U. B. O., when their time in those towns may be canceled, the pictures making themselves a return date. This the actor has thought of, also the lack of compensation promised. The value of an act posing for a talking picture is placed at $1,000. Exceptional cases of big headliners are quoted at from $3,000 to $5,000. These are the amounts paid by the Cameraphone, when that talking picture device had vaudeville acts to pose for it.

The Cameraphone was not successful, through not having a name as prominent as Thomas A. Edison’s identified with it. The Edison talker is the same as the Cameraphone, although the former is better synchronized. Hammerstein’s tried the Cameraphone, closing it at the first performance. This week the Edison talker has the “Quarrel Scene” from “Julius Caesar” and Truly Shattuck in her songs. Reports say the talking pictures flopped all over this week, where they were shown for the second time, either became the audiences were satisfied with one look last week or because of the subjects.

It is noticeable no vaudeville house booked by the U. B. O., is allowed to plate the talkers to close the show. This is probably for trade purposes, the promoters fearing the audience
would walk out on them the same as any ordinary black and white moving picture subject.

Applications for the use of the Edison talkers were so light this week at the United Booking Offices, it was reported a cut in the list of prices is being considered, in order to obtain a
wider area for the display, and to make a real showing with the Talkers in the financial department. It is also said Murdock has about concluded to waive the condition an exhibitor must contract for the picture over 13 weeks. This is what has stopped a great many managers from taking on the Talkers, they calculating that two or three weeks at the very most would wear out the usefulness of the device at the box office, leaving them with a large and unnecessary expense for the remaining ten weeks, that would eat up the profits of the extra patronage drawn at the commencement of the run.

The Talker is also said to be short of subjects, those on hand not being up to the “Caesar” scene, which has been generally condemned. F. F. Proctor expects the Talker will fizzle out very shortly, when the “novelty” will have worn out–in a very few days now. Then he will substitute Kinemacolor at the Fifth Avenue. The Truly Shattuck talking picture did not look good enough this week at the Fifth Avenue, and it became necessary to substitute the “Announcement” used last week, reinforced by the forum scene from “Julius Caesar.”

The talking picture people have exacted a three months’ contract with the Proctor theatres, but did not live up to their agreement, which was to deliver them last December. They exact a fee of $900 for installing the plant in addition to the cost of the weekly service.

“Fifth Avenue,” Variety 21, no. 13 (Feb. 28, 1913):21. (excerpt) URL: http://www.archive.org/stream/variety29-1913-02#page/n143/mode/2up/

The feature of the bill remained the Edison Talkers in pictures. An almost capacity house will probably be claimed for credit to the talkers, but it was rather the 12-acts that drew,
and if signs count for anything, the Edwards turn brought in most of the people, who waited intact for it until 11 o’clock, the slow show winding up at 11.20.

Hardly any applause greeted the talkers. Edison’s name when mentioned in the same opening speech as last week’s picture had, received a few handclaps, but the second half of the film (quarrel scene from “Julius Caesar”) passed through without noise. A whirring behind the sheet indicated a phonographic apparatus of some kind in close proximity to the screen, but not well placed, as the voices were distinctly off-side to the two figures. This talker is not different from others that have been shown (in private) as far as the general effect goes. Toward the finish of the Aim, the voices became guttural. They were always obviously mechanical. The house could not enthuse over any “novelty” that did not become apparent. After seeing the talkers the first time they amount to no more than the usual picture portion a vaudeville program always has. At the very best the Edison Talker is but an imperfect illusion of no extraordinary value to the stage.

“Correspondence: Chicago,” Variety 21, no. 13 (Feb. 28, 1913):27. (excerpt) URL: http://www.archive.org/stream/variety29-1913-02#page/n149/mode/2up/
The Talking Pictures, with a scene from “Julius Caesar” and Truly Shattuck doing her vaudevlllo act, did not convince the audience the pictures will in any way interfere with the plain black and whites. A few weeks with the novelty worn off will make the pictures simply an item on the bill.