Selig Polyscope Studios
FILM STUDIO HISTORY
Selig-Polyscope Studios
The original Selig-Polyscope Studio that was located at 1845 Glendale in the Edendale area of Los Angeles (Los Angeles Times, May 5, 1940)
By Allan R. Ellenberger
May 22, 2009
The Chicago-born Col. William N Selig started out in the theatre both as an actor and manager. But in 1883 he became interested in photography and began experimental work which later led to the development of a motion-picture camera and a projector known as the Selig Polyscope. His experimental work brought him into conflict with Thomas Edison, who also was deeply interested in film recording and projection, and for years the two were involved in patent litigation.
Selig first visited California in 1893, but made his first commercial picture three years later in Chicago. One of his early films, The Count of Monte Cristo (1907), was photographed on the roof of a Los Angeles office building.
In the spring of 1909 Selig established a temporary studio in a small building behind a Chinese laundry on Olive Street between Seventh and Eighth Streets in what is now downtown Los Angeles. There, Francis Boggs directed In the Sultan’s Power (1909). The following August, Selig and Boggs moved to an area known as Edendale, setting up Los Angeles’ first permanent studio in a rented bungalow at 1845 Allesandro Street (now Glendale Blvd.).
Edendale soon became Selig-Polyscope’s headquarters. Selig sparred no expense in fitting up the permanent studio. The company built the exterior, which faced Allessandro (Glendale) Street, to represent an old Spanish mission and used genuine adobe. In the interior was sunk an enormous water tank. The studio itself, composed entirely of glass, was the second largest of its kind in the world at the time. It contained stages, dressing rooms, offices, and a modestly sized film laboratory. The total cost of the studio renovations was estimated to be a quarter-million dollars
The Selig-Polyscope company produced hundreds of short features here, including many early westerns featuring Tom Mix. The studio made dozens of highly successful films, among them was The Spoilers (1914), probably their best feature-length effort starring William Farnum, Kathlyn Williams and Tom Santschi.
Actor Hobart Bosworth, who was one of the Selig regulars, made many of his early films at the Edendale studio.
“The first picture I did on my return to (Selig) in Edendale was called The Roman,” Bosworth recalled in 1929. “We had good little sets and costumes. The story I recognized at once. It was Sheridan Knowle’s old tragedy of Virginius. Tom Santschi, Frank Montgomery, Jim McGee, Frank Richardson, Stella Adams, Iva Sheppard, William Harris, Betty Harte, Roscoe Arbuckle, Robert Z. Leonard were among those in it.
“(Francis) Boggs asked me as we finished this picture in three days, if I could remember another Roman story that we could do with this scenery and costume investiture. I was able to dig one out.”
Photo above shows Selig’s lot in Edendale where he built the first official motion picture studio (LAPL)
Remembering the early days of the Edendale studio, Bosworth said:
“This was a little frame hall used by a local improvement society with little cubicles for dressing-rooms, a barn at the back for props and scenery and in front of it a little 16×20 platform of asphalt or cement with two by fours laid laterally to nail the braces to. Great things sprang from that little source, great things for Los Angeles, greater for the world.”
Tragically, the first celebrity murder also occurred here on October 27, 1911 when Frank Minematsu, the studio caretaker, went berserk and shot and killed director Francis Boggs. In the struggle to retrieve the gun, William Selig was shot and wounded in the arm.
Ironically, the day before Boggs’ murder, producers David Horsley and Al Christie made their first film in a little community to the west called Hollywood.
Film companies that popped-up in Edendale near Selig-Polyscope included Pathé, Bison and Mack Sennett Studios.
In 1915, Selig moved his company to Lincoln Park where he also established a zoo, and the Edendale lot was taken over by Fox Studios. Over the years several production companies produced films on the old Selig lot, including J. Warren Kerrigan Studios, Marshall Neilan Studios and Garson Studios where Clara Kimball Young produced her films. Among those who made films here were Thomas Ince, Conway Tearle (Michael and His Lost Angel, 1920) and Marie Prevost (Beggars on Horseback, 1924).
_____________________
A map of the studio when it was known as Garson Studios in the mid 1920s. Note: The street address was originally Allesandro before it was changed to Glendale.
Postcard of the former Selig-Polyscope Studio (known as Garson Studios here) in the mid 1920s. (Postcard courtesy of Greta de Groat)
Above is the site of the former Selig-Polyscope as it appears today. Compare it to the postcard above. The inclined street on the left, which is Clifford, and the hill in the background have not changed.
Another angle of the former location of Selig-Polyscope Studios.
Sadly, the site of the former Selig-Polyscope studios is now an empty lot in a mostly industrial area. The community that surrounds the spot and the people who pass by are most likely unaware of the historical significance of the site. It’s unfortunate that an archeological dig could not be done there before a warehouse or some other industrial building is constructed.
____________________________________________
- Book/Film News , Film History | Tags: Al Christie, Betty Harte, Clara Kimball Young, David Horsley, Edendale, Fox Studios, Francis Boggs, Frank Minematsu, Garson Studios, Hobart Bosworth, J Warren Kerrigan, Kathlyn Williams, Lincoln Park, Mack Sennett, Marshall Neilan, Pathe, Robert Z. Leonard, Roscoe Arbuckle, Selig Polyscope, Selig Studios, Selig Zoo, The Spoilers, Thomas Edison, Thomas Ince, Tom Mix, Tom Santschi, William Farnum, William N. Selig
- Comments(15)
