Posts Tagged ‘Col. Selig’

Hobart Bosworth remembers early filmmaking

Tuesday, October 25th, 2011

FILM HISTORY

The early days of filmmaking as remembered by Hobart Bosworth

 

  

On October 27, 1911 producer David Horsley came from New York and converted a deserted tavern on the northwest corner of Sunset and Gower into Hollywood’s first movie studio. On Thursday we will celebrate one-hundred years of filmmaking in Hollywood. Films were already being made in Los Angeles in the Edendale section where actor Hobart Bosworth was making films since 1909. The following is taken from a 1936 letter that Bosworth wrote a Los Angeles Times columnist reminiscing about those early days in Los Angeles and Hollywood.

 

“The Fanchon-Royer studio was the original permanent studio established by Francis Boggs, director for the Selig Polyscope Company. The buildings which have just been torn down were built by him from plans approved by Col. Selig. That was the triumph of Bogg’s life, which was ended by a bullet fired by a crazed Japanese gardener when Boggs was on the threshold of great things. Another bullet dangerously wounded Col. Selig.

 

“The Selig Polyscope party, on a location tour from the plant in Chicago, stopped in Los Angeles in May, 1909, and made two pictures, The Heart of a Race Track Tout, mostly at the old Santa Anita track, and Power of the Sultan, in which Stella Adams and I were the leads. The ‘studio’ for these two was a Chinese laundry on Olive near Eighth. Then the Selig part went north as far as the Columbia River, but was driven back by fogs and hired a little wooden hall on Alessandro Avenue (now Glendale Blvd.), built a little stage and, I think, made one picture there. In the meantime, Boggs had written me at Ramona, where I was battling a gangrenous lung. In September 1909, I started playing the Roman in the old Virginius story with a happy ending.

 

“Boggs asked if I would write a plot he could produce, which would enable us to use the same scenery and costumes for another picture. I did it by stealing from The Rape of Lucrece, Cymbeline, Quo Vadis and Arius the Epicurean, setting a fashion for acquiring stories which has been considerably followed ever since. So I wrote and acted my second picture, and wrote, directed and acted my third, Courtship of Miles Standish. I have the records to prove all this.

 

“In November, 1909, a little independent company called Imp started on the other side of the street and a little further down. A year later Mack Sennett occupied that studio. It expanded across the street and had a big growth. But before that, I think in 1910, Jimmie Young Deer began making Westerns for Pathé. He hired a lot nearer us and on the same side of the street which became the Norbig studios. It is there yet, just as it was when I moved to it in 1914 to make the interiors for Jack London snow pictures.

 

Tom Mix, after he became a Fox star, moved a long way farther out on the Glendale road to what was called Mixville. He had his stables there. Curly Eagles ran them. He was a member, with the Stanley boys, Art Accord, Hoot Gibson and Bosco, of a little stranded rodeo troupe. They came to Boggs in 1910 to work in westerns, but began with Mazeppa, in which I was the gent who was bound to the fiery, untamed steed. It was Kathlyn Williams’ first picture.

 

“The next studio was established by Al Christie and Dave Horsley at Sunset and Gower. Vicky Ford with her mother and father were there. It later became Universal. Griffith brought the Biograph to Georgia Street in January 1910 and it rained for a month. He was about to go back when he learned that Vitagraph, Lubin, etc., were starting out here because our pictures had such fine scenery and light. Selig had scored a scoop. Griffith brought Mary Pickford, Jack Bennett, Henry Walthall and a lot more.”

 

—Hobart Bosworth

May 1936

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