MARY PICKFORD'S VERSION OF “LITTLE LORD FAUNTLEROY” IS A CREDITABLE VERSION OF THE FAMOUS STORY. THE ATMOSPHERE COMMUNICATED TO THE VARIOUS SCENES BY THE DIRECTOR, PLAYED AN IMPORTANT PART IN THE PICTURE'S SUCCESS
Chapter XVI
Those who cry down the methods employed by Thomas H. Ince with respect to the directors who work in his studio often state that the Ince school of directing snuffs out any original ideas that a director may possess and makes him a mere picture mechanic, capable only of turning out mechanical and uninteresting pictures.
And lest it be thought that sufficient proof hasn't been offered to counteract this argument some few of the directors who started under the early Ince regime and left to make their marks as individualists elsewhere are mentioned here.
There is Reginald Barker, long on the Ince staff, who until recently was employed at the Goldwyn studios and who was entrusted with the direction of many of their most important stories and stars. The facts and records point to only one conclusion, that Mr. Barker has directed some of the most successful pictures made by the Goldwyn company and is one of the most reliable men in the field today.
There is Fred Niblo who after a short session at the Ince studio turned his energy elsewhere. Mr. Niblo happens to be the man who directed Douglas Fairbanks in the highly successful “Three Musketeers.” No one, within or without the field of motion pictures, has once stated that “The Three Musketeers” appears to be the work of an automaton.
There is R. William Neill, who, since he left the Ince school some several years ago has been hard put to it to accept all the positions he has had offered him. Other picture producers are not in the habit of seeking a man to fill the responsible position of director when he can only carry out the definite orders of his superior.
There is Jerome Storm who while with the Ince organization made a big name for himself by directing many of the pictures in which Charles Ray appeared. Mr. Storm left Mr. Ince when Mr. Ray left him. Mr. Storm directed Mr. Ray's first independent picture. Mr. Ray, since he has been directing his own pictures, shows sadly the lack of Mr. Storm's guiding hand. And Mr. Storm has had various positions since leaving Mr. Ray—in fact, has had quite as many as he could well take care of.
There is Victor Shertzinger who while with Mr. Ince also made some very good Charles Ray pictures. With the Goldwyn company he made an enviable reputation for himself as a director of light comedy and proved more successful in handling Mabel Normand than any other director with the sole exception of Mack Sennett himself. Mr. Shertzinger is now at the head of his own producing company. A difficult post for a man to achieve who is no more than a mere mechanic taking orders from a producing genius such as Mr. Ince!