Volume I: Narrative History

Chapter 5 (1912): On to Europe

The two-reel Put Yourself in His Place, issued on October 29th, was taken from the novel by Charles Reade and was considered to be a masterpiece by the most gentle of the leading trade publications, The Moving Picture News. However, other publications reviewed it favorably as well, and in The Moving Picture World Louis Reeves Harrison, who would never use a word when he could use a sentence, and who would not use a sentence if he could fill a paragraph, used the film as the basis for a lengthy review which began:

The Thanhouser productions are growing more interesting because of the progressive spirit that is plainly perceived by those who look beyond the screen into the studio and its methods and into the directive minds and selective taste evinced in what is materialized from an author's ideals. No one in the business is better aware than Mr. Thanhouser himself that there is a certain amount of convention in all drama, that pictorial representation on the stage is necessarily artificial, that painted scenery and footlights make realism in the legitimate performance theoretically impossible, yet no one has been quicker to recognize that moving pictures offer opportunity such as the artist enjoys of getting out into the light of day, into an entirely new and clear atmosphere of artistic influence, where it is possible to reduce visual convention to a minimum and make it a source of half-conscious delight.

It is rather remarkable that a man long trained in the tradition of the stage should be divesting himself of its tawdry old trappings at the very moment so many are engaged in trying to vest the old fundamental conventions with the jarring inconsistencies of modern interpretation. Here is a man who has been in show business long enough to settle down in the well-known rut of artificiality, yet who is in the front rank of those who realize that there is a pictorial phase as well as a dramatic one in the New Art. The trend of his production is to make each scene a veritable picture by itself, with instinctive attention to composition, placing and balance.

The non-critical spectator in front is suffused with an undefined pleasure when the best of the Thanhouser photodramas are flashed on the screen for a reason - love of the beautiful is so universal, even among those of humble circumstances, that the ability to sense a picture might be called common property. Aiming always toward finer presentation of a subject at hand, it seems to me that we may look to Mr. Thanhouser for some splendid achievements when he takes hold of photodramas of modern construction and purpose, for he is engaged in the most difficult branch of the art, that of making old lamps shine like modern electric illumination. He has been preserving standard plays and illustrating works of fiction that were not intended for all ages....

Harrison went on to say that film dramatizations of classic works often required distracting subtitles to permit viewers to follow the action, a complaint that was voiced by other reviewers of Thanhouser films taken from traditional literary pieces.

While Edwin Thanhouser was quoted frequently in the trade press and remained the spokesman for the firm bearing his name, by autumn 1912 he decided to leave film making behind and enjoy himself in an extended grand tour. On November 2nd The New Rochelle Pioneer announced that the Thanhouser family would leave within the next few days for a combined business and pleasure trip to the other side of the Atlantic. On November 16th the same newspaper told of revised plans: "Edwin Thanhouser, founder of the Thanhouser Film Corporation, accompanied by Mrs. Thanhouser, will sail on November 30 for Europe, where he expects to make a leisurely tour of various countries, mainly by auto." Note

By November, Charles J. Hite was comfortable in the president's chair at the Thanhouser Film Corporation, and nearly all decisions were his. The transition had been smooth, the quality of the studio's films had been maintained, and all of the players who had been hired during the period of Edwin Thanhouser's ownership enjoyed working with the new administration. Backers of the Mutual Film Corporation had the good sense to remain in the background, and although contingents of Wall Streeters paraded through the plant from time to time, the Thanhouser Film Corporation was still largely thought of as a home-grown New Rochelle enterprise by the public. In the meantime Bert Adler was taking driving lessons in a new automobile presented as a gift by Charles J. Hite, "in appreciation of his good work for the Thanhouser Company." Note

The city of New Rochelle was proud of the studio, and vice-versa. On November 23rd The New Rochelle Pioneer noted: "The Thanhouser moving pictures shown throughout the country prove a good advertisement for New Rochelle; the title on each film stating that they are produced in this city gives us worldwide prominence." During the same week major stockholder Dr. Wilbert E. Shallenberger was in the city for another visit, to check on his investment. Each day he was at the studio from morning until night, watching the proceedings.

The Little Girl Next Door, released on November 1, 1912, featured William Garwood, Marguerite Snow, and the Fairbanks twins in a story with an unhappy ending, as one little girl dies, but not completely in vain, for her father learns the lesson of forgiveness. Petticoat Camp, originally scheduled to be released on October 20th but postponed when Thanhouser moved The Woman in White forward to that date, was issued on November 3rd and told of a large contingent of husbands and wives who go camping on an island. In due course, the wives feel that they are doing all of the chores and are little more than slaves to the men, who are having a great time. So, they revolt and depart for their own island, with comic results. Next on the schedule was The Ladder of Life, first screened on November 5th. At the time Thanhouser was continuing to maintain its release schedule of three films a week, on Tuesday, Friday, and Sunday.

Through the Flames, issued on November 8th, was another Thanhouser "fire film," in this instance with a scenario built around an abandoned house which was purchased by the studio and set afire. Of course, this provided the opportunity for the inevitable rescue.

The story of the release of November 17, 1912, A Noise Like a Fortune, was told by a writer in The Morning Telegraph, who, it seems, recited the plot but forgot to review the picture: "Months ago a magazine story had the same theme, and it has also been used in other ways, proving its worth. A poor farmer, unable to raise money, is assisted by one of his hands, who changes the wording of a communication from attorneys of a deceased uncle so that the natives of his community on finding it are led to think he is coming into a fortune. Hence his credit is extended, he raises sufficient money to develop his farm and thus also wins the hand of the girl in question."

The County's Prize Baby, issued on November 12th, told of an ambitious congressman, estranged three years from his wife, who is asked to judge at the county fair. Then came the ending to be expected, as per the official synopsis: "All sorts of babies were there, and the task of picking out the finest one had elements of difficulty. The congressman, however, made up his mind very promptly. His eyes lighted on one child, and from that moment none of the others could compare with her. She got the blue ribbon. The child's mother, who had lost her in the crowds of the fairgrounds, came rushing in at this point and clasped the child in her arms. She then turned to the congressman, and husband and wife looked into each other's eyes. During the years of separation each had been convinced that the blame was not all on one side, and the beautiful little daughter furnished an additional reason for reconciliation."

On the evening of November 14th the New York Exhibitors' Ball was an unqualified success. In addition to the estimated 5,000 people who filled every available square foot of space at the Palm Garden in New York City, including the stairways and the tops of the radiators, according to a report, Note some 2,000 were unable to gain admittance. Entertainment included the screening of Independent films, with Charles J. Hite introducing a preview print of The Truant's Doom. Most of the attendees were movie fans. On hand to greet visitors was a retinue of stars.

In Time of Peril, released November 15th, was a stereotype Thanhouser "disaster film." Word was received by the studio that there was a train wreck in nearby Westport, Connecticut. Little Marie Eline was dispatched to the scene, along with William Russell, a cameraman, and several other players. After acting in various poses on and around the wreckage, the Thanhouserites headed New Rochelleward, and soon a scenario was written to fit. Frankfurters and Quail, released on November 17th, was followed by Miss Taqu of Tokio on the 19th and Cross Your Heart on the 22nd. Then came The Truant's Doom on November 24th and The Thunderbolt on November 26th.