Evening public ledger. [volume] (Philadelphia [Pa.]) 1914-1942, 1918-01-16
HOPPER RLEARNEDLY
DISCUSSES MOVIES
Cinema Fame Appeals Not to
the Tall Comedian of "The
Passing Show of 1917"
HAS HAD EXPERIENCE
Found Footlights Different Propo-
sition From Facing
Camera

Dewolf Hoppers return to Philadel-
nhIa as commandant OF the collection OF
Comedians in the Winter Garden revue.
sThe passing Show OF 1917" at the
chestnut street Opera House, marks this
nopular stars first local visit since his
memorable success In the Gilbert and
sullivan repertoire--and his redemption
from activity In the field Of motion pic
tures. Hopper, It will be recalled. was
one of the first of the great names" Of
the legitimate stage TO succumb to the
lure of the screen when the promoters Of
celIuloid drama suddenly determined,
two seasons ago, that the future OF their
important branch of the amusement in
dustry was dependent upon drafting for
service before the camera most Of the
playcrs who commanded a real follow
ing among the patrons Of the first class
theatres.
What with his long line of comedy
successes, It was but natural that the
''movie" magnltes should see In Hop
per what was their idea of exactly the
kind OF mlrth provoker that the new
order Of films was to make known and,
accordingly. there was brisk bidding ny
rival concerns for the privilege of III
PRODUCING the elongated comedian as a
cinema star. Mr.. Hopper was then ap-
nearing in the Gilbert-Sullivan operas
in New York and hardly an evening
passed without some moving picture i'm
presario seeking him out with an offer
10 desert the legitimate stage for studio
Finally the comedian rose to the tempt
ing financial .bait--S100,000 for ten
months service in the Los Angeles land
Of make believe was the provision In the
contract he signed-and. closing his sea-
son OH Broadway. he went to California
l,n n mn
uncomfortable and unhappy experience
in his extensive professional career.
The story OF Hopper's subsequent nom
success on the screen Is the story of the
similar experiences Of Weber and Fields,
william Collier and other famous funny
men OF the footlights. Somehow the
laughter provoking abilities of these
comedians, long since established In the
legitimate theatres. did not transfer to
or register" on the screen. Strange
>and obvious as it may seem now. the
inotion-picture producers completely
overlooked the important fact that their
medium could not reproduce the human
voice which, in most instances. especially
in the case Of Mr.. Hopper. constitutes a
valuable asset for a successful come
dian
"Afovies?" said Mr.. Hopper, recount
ing his experiences. How / hate 'em.
hate 'em. hate EN-. Posing Tor the
camera Is certainly weird and Won
drous life, but not for me. I've had my
share. thank you. and never again. To
the man trained in the methods of the
legitimate stage, the worst thing about
motion picture acting is the complete
lack Of sequence. orderly. logical and
reasonable development of theme or
story. as It Is manifested In the unfold
ing Of the plot of a drama or musical
play In the theatre. is something abso-
lutsly unheard Of in the making CT the
movies played In one picture In which
was killed three weeks before the pic
ture was finished. The bullet which
killed me was fired three days before It
hit me. The man who fired It loaded
the bullet into his pistol couple Of
days before he fired II. That's what
nlean by a lack Of sequence.
din the movies the actor never knows
what he Is playing. Nobody tells you
what the picture Is about. Like a child
learning to walk. you simply follow the
directors instruction to do this or do
that.A-'register' this emotion OF the
other, as they call it-without an ade-
quate idea OF what is intended that YOU
should really counterfeit. I am glad.
however, that had the experience in
movies, now that it Is over. even il | was
not always happy"