The Los Angeles Times from Los Angeles, California • 94

156 Los Axgeles Daily Times. JANUARY 1,1915. Henry M. Lehrman David Wark Griffith Discouragement because of the attitude of the, theatrical managers, who would not or could not see nis ideas or dramatic art, was the cause of David Wark Griffith de serting the stage and going into motion pic tures, where, in the course of a few years, he has risen to such a point that today he is conceded to be the foremost figure in the motion-picture world. Seven years ago Mr.

Griffith completed an engagement as leading man for Nance O'Neil. He had made a thorough study of the drama and knew the works of the old masters. He was anxious to see the Ameri can stage improved. Mr. Griffith was years ahead of the theatrical managers in his con ception of.

to what truly great heights the drama could be carried. His idea of the drama was poetical and beautiful. He had the natural artist's capacity for seeing where, with a merely slight touch-of art istry and realism, commonplace incidents in the mediocre stage vehicles could be so raised that they could be made into beautiful dramatic situations, appealing to artistic He had learned a lesson in so far as dealing with directors was concerned. He concluded to start in the moving-picture business at the bottom and then await his opportunities for putting his dramatic touch into motion pictures the touch that had been denied him on the stage. Griffith started to work as an extra actor at a salary of $5 a day.

He soon graduated into the salary class, thence to assistant director, and lastly. to director. In the meantime he was studying the motion-picture business day and night. He ab-i sorbed knowledge of its technique like a fresh blotter on an ink spot. He saw where, the motion pictures presented a greater field for his ideas than the restricted stage.

It -was when he became a director that he revolutionized the motion pictures, which at this time (1908). were in their crudest stage. He cast aside all Ideas of precedent One by one he tore down and cast aside customs, which at that time were adhered to in a sort of a religious zeal by the men who at this period were considered the pioneer of the industry. The something new that Mr. Griffith, failed to instill into the legitimate stage he gradually worked into motion pictures.

His progress -was one constant fight Like the progress of all pioneers, men who see farther than the average person, he was forced to fight his way to the goal at which he aimed. His employers fought his methods because they felt they were the actions of a fanatic. He invented the cut-back, the close-up, changed the pictures from living caricatures to pictorial dramas. His remarkable rise from an extra actor to the foremost figure in the motion-picture industry furnishes a striking example of what brains, ambition, pluck and an In-, domitable will, combined with a sense of the artistic, will accomplish. Today he is sense rather than to love of sensationalism.

He wished to add new touches of beauty and art to the stage. He desired to revolutionize the old order of the cheap melodrama. Mr. Griffith thought, with Keats, that a thing of beauty is a joy forever, and where could it be better applied than to the American stage? Owing to his what then seemed visionary ideas, he was ridiculed by the powers that were in the theatrical world. It was at this time that Mr.

Griffith wrote a play, in which he embodied his ideas of what he considered to be the essential qualities of drama, which he deemed were wanted by the theater-going public. It was called "The Fool and a Girl." Into the manuscript he wrote in detail the acting and expression he wished carried out. This play, in point of artistic finish and new dramatic tone, was far ahead of what at that time were con ing leads to the Lehrman comedies, he produced a number of brilliant and popular plays. It was Miss Normand who induced him to join the Keystone Film Company, which was then being organized. With this organization Mr.

Letirman soon established a new line of comedies, which won public approval from the start. He continued with this company for about eighteen months, when he was offered tant connections with other companies, finally signing up with the Universal Film Company, who organized a special company for Mr. Lehrman, with an individual trade-mark known as the "L-KO" Motion Picture Kompany, of which Mr. Lehrman is president and general director; he also controls the corporation. sidered the classic dramas.

It was new. The play was purchased and Mr. Griffith had visions of seeing it produced with all his new and novel embellishments carried out in full. But it was only a vision. The producers cut and slashed the play until The subject of this interesting sketch, now president of the "L-KO" Motion Picture Kompany of Los Angeles, was born at Vienna, Austria, in 1883.

He spent his boyhood days there, and was educated at the Vienna Commercial University. He later served as a lieutenant in the Austrian army, being stationed at the fortress in the city of Przemysl. His regiment is still stationed there, and many of his former comrades are now fighting as members of Lieut. Lehrman's garrison. When 24 years of age, about seven years ago, Lieut.

Lehrman came to America, landing in New York. He could not speak a word of English. He began studying the language of this country under the personal-contact system, and by close application soon mastered the principal features. Five years ago he became interested in motion pictures through attending the small theaters of New York, where the scenes in their, at that time, crude state attracted him. He realized even then the wonderful possibilities of motion-picture work, for.

the only thing that remained by which it could be identified was the title and a piece of the skeleton of the action, which em This notable company is now making head quarters in Los Angeles, where, under the direction of Mr. Lehrman, the company is proaucing nign-ciass comedies under tne "L-KO" brand. A specialty is made of three-reel productions, following along the lines of "After Her Millions," which proved so successful. Mr. Lehrman has had a remarkable career, and, when it is considered that he never uses a scrip or has a scenario to follow, conceiving and executing as he proceeds, his success has been most notable.

Mr. Lehrman's view of comedv is any braced only a small fraction of the original manuscript. Mr. Griffith protested vigorously to the theatrical managers who were putting on the play. He tried to instill into their minds that they were destroying the very heart of the play.

He protested that all the really artistic qualities that he had written into the manuscript were gone, and that which remained was nothing more or less than ordinary stage junk, which had been common property behind the footlights for half a century. Mr. Griffith was advised rather curtly that the same old ideas and the same old plays were making money, and that he had better let his wild ideas die a natural death. The theatrical managers were reaping a golden harvest, and they wanted nothing like many educated and highly-sensitive D. W.

GRIFFITH. thing that resembles life that is true to nature. He now plans a series of comedy pictures based on exposition life and specialties, the principal object being a combination of educational features that will blend and harmonize with comedy. This will make scenes more attractive and individual, as well as educational and instructive. Mr.

Lehrman rehearses the players over and over again, making corrections and alterations according to his original ideas as he goes along, but always without the aid of writing, relying on his splendid training and memory. Mr. Lehrman is the son of Joseph Lehrman, noted and successful manufacturer of steel products and agricultural implements of Austria, whose name Is known throughout that country, where his implements have been in general use for years. Like his estimable father, he has a wonderful memory and ideas of the comedy in life that are distinctive. Mr.

Lehrman makes his home at the Hotel Alexandria, motoring to and from his studio daily. He gives personal direction to all his comedies, and they have won for him a prestige and fame that are most gratifying. His future as a motion-picture producer is firmly established, and each year but adds to the name and honor of the "L-KO" productions under the management of Henry M. Lehrman, president and managing director. Europeans, he has an extensive imagination.

He secured a position as an extra man wifh the Biograph Company of New York. For a year and a half he struggled hard to win recognition. He had many obstacles thrown in his way, but he won out. During these days of hard work and slow progress he met Mr. David W.

Griffith, the noted director, then rehearsing the actors and players in motion-picture work, who seemed to appreciate young Lehrman's ability and hard work. Mr. Griffith encouraged him, gave him a chance to stick to the game and live. His work was of the right kind, and he began climbing the ladder of achievement. He was given a part here and there, later a lead, and his work was so satisfactory that his prestige was established, and he became a real actor familiar with the details of motion-picture work.

Mr. Lehrman left the Biograph Company to accept a position as director for the Imp Company in New York, making a specialty of comedy work. Here his ideas in the game of comedies, he being only a youngster himself, were advanced and strengthened by the encouraging advice of Mabel Nor-mand a most popular star, who, being keen of perception, realized young Lehrman had undeveloped talent. She talked the work over with him on more than one ocqaslon, and, with her assistance, Miss Normand play new. Their conception of what was beautiful and what was artistic had been handed down from theatrical managers to theatrical managers, with the result that commercialism flourished at the expense of art.

Mr. Griffith offered to write a new play and make a present of it to the theatrical managers if they would stage it as he wrote it, but his offer was refused. The theaters were making money, was the answer of the powers that be in the theatrical world to his argument. Thus art clashed with commercialism, and, as it always has been and probably always will be, art was defeated another play stripped of Its innovations. "The Fool and a Girl" failed.

It was produced in Washington, D. by James K. Hackett, with Fannie Ward playing the title role. Hackett wished to see the play put on as Griffith wrote it, but he was powerless to do so. Mr.

Griffith, before going to Washington, attempted to have the play produced in New York, but could not even secure a hearing. With the failure of "The Fool and a Girl" Mr. Griffith despaired of ever being able general manager and director-in-chief lor the Reliance and Majestic film companies, where he draws a salary in excess of a year, besides sharing a large percentage in the earnings of these organizations. The special features he has produced Include "Judith," "Home, Sweet Home," "The Escape," "The Avenging Conscience" and "The Battle of the Sexes." These productions are the only motion pictures that have been reviewed and criticised by the higher-class dramatic critics, with the same care and forethought that they accord to legitimate stage plays. Mr.

Griffith's productions are the only pictures containing all the essentials of true dramatic art, which pictures must contain in order to receive recognition at the hands of dramatic critics. A short time ago Mr. Griffith saw Fannie Ward, who was the leading figure in his "The Fool and a Girl." She told him that had the producers the foresight to put on "The Fool and a. nirl" om1v to convince the theatrical managers of his ideas of art in drama. He then determined vnMAj cua A wcbia written the play would have made a for- to see what he could do in motion pictures.

successful and interesting known to the motion-picture profession, adding renewed prestige and fame to this already notably successful playwright and producer. Mr. Baum is perhaps the best-known writer of fairy tales in America. He has written the famous Oz stories, which are read in nil hi lr srhnnln thrnnchnut ll TTnltal OZ FILM MANUFACTURING CO. The history of the formation, organization and development of the Oz Film Manufacturing Company is especially characteristic of and Interesting to Los Angeles people.

The now celebrated company was Incepted and formed among members of the Uplifters' Association of the Los Angeles Athletic Club, April 2, 1914, for the pur ho vww VJ vuim known to the motion-picture world of the Pacific Coast. Mr. Frank Baum gives the various productions and the entire studio and surroundings his entire time and attentio.n. His kindly advice and wise counsel is frequently extended to actor or assistant, and his cheerfulness and depth of appreciation, so courteously shown, have much to do with the excellence and success of the famous pictures manufactured by the Oz company. Directors for the company are such able representatives of the theatrical and motion-picture profession as Mr.

Louis F. Gottschalk and Mr. J. Farrell Macdonald, whose effective creations and personalities are abundantly shown in the splendid results obtained for the Oz pictures. Under Mr.

Frank Rnn 'a norannal en nor. Famous people in the Oz company Include Violet MacMlllan, who played the part of Dorothy in the original Wizard of Oz Company and Fred Woodward, the king of animal actors, his specialty of Hank the Mule, as played in the Tik Tok man, being known throughout the country. Frank Moore, playing the Scarecrow, and other quaint parts in the "Tik Tok is also prominent Miss Vivian Reed has been pronounced one of the most beautiful women in motion pictures. The Oz Film Manufacturing Company employs about thirty prominent performers regularly, and from twenty-nve to two hundred extras as the pictures demand. It has offers for releases from all leading agencies of the country, and the New York Held Is belnfi looked After htv Franlr Ttaum orrt vision the company began making pictures of the founder of the company, who takes care of releases and publicity for the -lino iv, manuractunng only feature pictures of five reels or more, the first be- ine the "Patrhwnrlr niri rt Th Ditties us -supplementary reading for chll-jdren In the primary grade.

Over 4,000,000 copies of the Oz stories have been sold. They have also been translated Into several European languages, and are known in all parts of the world. These stories are now being produced in motion pictures. The books were formerly sold at $1.50 each. Mr.

Baum, however, conceived the idea of translating the stories to pictures so that the children could see them acted at a nominal price. The press of the entire country united unanimously In complimenting in the highest terms the first picture released by the Oz company, the "Patchwork Girl." At the Strand Theater in New York, which is the finest playhouse cUy the Pictures were shown to 65,000 persons In one week. The "S.R.O." sign was prominent continuously. People stood five rows deep trying to buy tickets. The company makes a specialty of having 'aggregations of beautiful girls in their Pictures.

The New York Telegraph says the 'Patchwork Girl' had quite the prettiest lot of girls ever gathered together in on picture." pose of making and featuring in five reels or more the famous fairy tales" of the noted author Frank Baum, producer of the most characteristic specialties known to child life. It Is a close corporation, capitalized for $100,000. Not one dollar was spent for promotion or stock selling in any way. The stockholders are all representative business men of Los Angeles. The officers of the Oz Film Manufacturing Company are L.

Frank Baum, president and general manager; Louis F. Gottschalk, vice-president; C. H. Rundel. secretary; II.

M. Haldeman, treasurer, and Frank J. Baum, special rep-, resentative in New York. Shortly after its organization affairs were fompleted the company leased the former i noted homeplaceof ex-Senator Cole, found- er of Colegrove, in the most interesting sec-, Won of Hollywood, erecting thereon. In addi-im to the old and picturesque family home, the most modern and complete studio suits gained from this work were so satis- Mr.

PpnnV Ttniim tVio nmia f.ln, laciorv mat inn rnmnnnv immortiataiw writer and motion-picture producer, first came to California twelve years ago, spending the winters for years at Coronado. Three years Urn hA nnrolinao1 a Thoautlful hnmn In came prominent, and its pictures grew in popularity and in demand. The second picture produced was the "Magic Cloak," followed by "His Majesty, the Scare C.rcwv "tV, oo Hollywood, and now heads this notable com- vawy, wmcn ne lounaea to produce pictures built around his magnificent works. the "Violet Dream" series, featuring Violet MacMlllan. The last two pictures have only A beautiful ttrARtts-A haa thna Ttaon afah oit-uujr urn completed.

Tnese pictures, as Well as Others in ha mvA nrxwl llahed. and is splendidly maintained by FriLTalr Ritiim and tk VHm vr Baum'a life work, and are among the most Ulttlitm Ing Company of Los Angeles, U.S.A..