New-York tribune., 1915-11-25
Fairbanks Wins a Belt on
Boxing Bout Given for
the Movies.
CROWD AT RING
TAKES TO ACTING
Minor Pugilist Refuses To Be
Content with a Bit Despite
Pleas of the Director.
By HEYWOOD BROUN.


Deep down in his heart every man is
an actor. Douglas Fairbanks put the
punch in a picture play at the Shsrkey
A. C. last night, and 500 volunteers
helped him just for the fun of it. The
film, which is called "His Picture in the
Papers" was explained only bit by bit
in those lulls while the camera man
was loading, but unQuestionably Doug
las Fairbanks was the hero, and just
as surely he knocked out Battling
Burke in the second round of bout
for the championship belt.
Fairbanks proved himself good two
handed fighter, with as neat pair OF
shoulders as ever put kick into a swing.
The tailor of this actor, we will war
rant, can save his padding for less ro-
bust stars. The surprise of the even
ing, however, was furnished by the
mob. The crowd was made up in part
of actors, members Of the Lambs,
Friars and a leavening majority of gun
men and loungers.
As soon as the actors learned to fol-
low the lead Of the gunmen and loung-
ers the mob scenes boiled and bubbled.
John Emerson, the director, began:
"Now. when Mr.. Fairbanks comes in, re-
member you don't know him. He is an
unknown. You wonder how the young
man has the temerity to challenge the
champion. Do you understand
Perhaps the actors did and perhaps
they didn't, but there was no question
of complete realization upon the part
of the gunmen. No sooner did the
camera man begin to grind his record.
ing instrument for the entrance OF
Fairbanks than the room was babel.
"Get out! Get out!" shouted the
mob. "Take him off," "Who is that
dude?"
Later they held their breath while
the referee counted up to seven over
the PROSTATE form of Fairbanks, and
when at last he leaped to his feet and
knocked out his adversary with hard
right hand hook to the northwest
corner of the chest the clubhouse
rocked.
Acting is the great passion. or
course, it is true that it is easier to
get mob into the play spirit than an
individual, but even the single person
has a desire to meet art half way when
he knows he has an audience. Prior
to his downfall at the fists of Fair
banks Battling Burke swept every one
before him. One Of the victims was
large young man named Knockout
Smith. Knockout is a pugillst by acci-
dent. He has the jaw Of fighter, but
Al Tor in
structed Knockout that he should take
punch and fall
Lights went up and the round be-
gan, but Knockout refused to be put
out of the drama in such summary
fashion. He fought his adversary all
over the ring and took blow after blow
upon the jaw. Fall! fall" shouted
the director, but in spite Of this en-
couragement Knockout would not yield.
Back and back he forced his antagonist
until he had gained the centre of the
stage, and then as a blow thudded
against his jaw he turned his face up
ward, reeled half way around, and came
down to the canvas with crash which
would have been credit to the third
act Of any romantic drama. Hamlet
could not have taken the count with
more grace.
They carried Knockout to his corner,
and even after the camera man had
done grinding he insisted on giving an
imitation of man in great distress,
until it was dinned into him that his
part had been played to the last string.
We don't know when this Knockout
person fights again, but we could never
see him counted cut without being sus
pcious. He is too good an actor for
the ring.
Naturally most of the parts went to
experienced players. Terry McGovern,
who starred in "The Bowery After
Dark" was the referee, and Joe Hum,
phries the announcer. To hear Hum
phries announce and then to remember
that when the play is produced his
voice will be absent is enough to con-
vert all but the most hardened skeptics
to films.
Among the actors who volunteered
their assistance were Nat Goodwin,
Frank Sheridan, Hal Forde, James
Lackaye, Burt Green and George Nash.