The Battle of the Films

>ERSHING'S CRUSADERS," "America's Answer," and "Under Four Flags" are feature films that will live long in the memory of the world, for they reached every country, and were not only the last word in photographic art, but epitomized in thrilling, dramatic sequence the war effort of America. Yet these pictures, important as they were, represented only a small portion of the work of the Division of Films, a work that played a vital part in the world-fight for public opinion. A steady output, ranging from one-reel subjects to seven-reel features, and covering every detail of American life, endeavor, and purpose, carried the call of the country to every community in the land, and then, captioned in all the various languages, went over the seas to inform and enthuse the peoples of Allied and neutral nations.

At the very outset, it was obvious that the motion picture had to be placed on the same plane of importance as the written and spoken word. There were, however, many obstacles in the way that prevented straightforward, driving action. In the first place, it was our original hope that we could put our reliance upon commercial producers, thus saving the time and expense that necessarily attended the creation of new machinery. This theory had to be abandoned, for the War Department issued a flat ruling that only the photographers in actual service would be permitted to take pictures of any kind either on the firing- 9 117 line in France or in the cantonments and other branches of the military establishment in the United States. Aside from the unwisdom of allowing individuals in private employ to have free run of aviation-fields and munition-factories, there was also the physical impossibility of handling the army of individual photographers that equitable representation would have demanded.

Going into the matter fully, we discovered that there was to be a photographic section of the Signal Corps, with first purpose to serve the fighting force and a second purpose to make pictures for the historical record desired by the War College. The Committee then went to the Secretary of War with representations as to the publicity value of much of the material that would be gathered. It was pointed out that since protection of military secrets barred private photographers, it was both wise and proper that we should have the right to go through the Signal Corps photographs, selecting such as were suitable for public exhibition. The contention was granted by Secretary Baker, and the Committee on Public Information was recognized by the War Department as the one authorized medium for the distribution of Signal Corps photographs, still pictures as well as "movies."

All of which seemed encouraging enough until investigation developed the sad news that the Photographic Section of the Signal Corps was a hope rather than a fact. Looking after film matters for the Committee at the time were Kendall Banning, formerly editor of System, and Mr. Lawrence E. Rubel, a young Chicago business man, both of the temperament that found inaction intolerable. The two made a survey of the photographers of the United States, motion and still, and urged selections upon the Signal Corps until an adequate force had been assembled for duty at home and abroad. Mr. Banning accepted a commission as major in the army, and as the distribution CHARLES DANA GIBSON of still pictures occupied Mr. RubePs full time, the motion-picture end was turned over to Mr. Louis B. Mack, a Chicago lawyer, and Mr. Walter Niebuhr, both volunteers. The routine, as finally worked out, was as follows: The negatives of still and motion pictures taken in France and in the United States by the uniformed photographers of the Signal Corps were delivered, undeveloped, to the Chief of Staff for transmission to the War College division. The material was "combed" and such part as was decided to be proper for public exhibition was then turned over to the Committee on Public Information in the form of duplicate negatives. The Committee, out of its own funds, made prints from these negatives.

Our first hope was to avoid all appearance of competition with the commercial producers, and as a consequence the bulk of material was distributed fairly and at a nominal price among the film-news weeklies. Experts were then engaged to put the remainder into feature form, and these pictures were handed over to the State Councils of Defense and to the various patriotic societies. They were not shown in motion-picture theaters, nor was admission charged except in the case of benefits for a particular purpose. Among the early features thus produced were:

The 1917 Recruit, 2 editions (training of the National Army).

The Second Liberty Loan.

Ready for the Fight (Artillery and Cavalry maneuvers).

Soldiers of the Sea (Marine Corps in training).

Torpedo-boat Destroyers (naval maneuvers). Submarines. Army and Navy Sports.

The Spirit of 1917 (the largest maneuver staged in America; an attack by the Jackies at Lake Bluff upon Fort Sheridan, Illinois).

In a Southern Camp (general army maneuvers).

The Lumber Jack (showing the growth of the Lumber Jack Regiment for reconstruction work in Europe). The Medical Officers' Reserve Corps in Action (showing the development of the Medical Corps and training).

Fire and Gas (showing maneuvers of the new Thirtieth Engineer Regiment).

American Ambulances (complete display of ambulance work).

Labor's Part in Democracy's War (labor-union activities in the war).

Annapolis (naval officers hi the making).

Shipbuilding (construction of all types of ships).

Making of Big Guns. Making of Small Arms. Making of Uniforms for the Soldiers. Activities of the Engineers. Woman's Part in the War.

The Conquest of the Air (airplane and balloon maneuvers)

As time went on, however, it was seen that this method of distribution not only put an unnecessary burden of expense upon the government, but that it was failing absolutely to place the pictorial record of America's war progress before more than a small percentage of the motion-picture audiences of the world. The growth of the Signal Corps's great Photographic Section was producing an enormous amount of material, both in the United States and France, possessed of the very highest propaganda value, and the existing arrangement wasted what it did not fritter away. Mr. Charles S. Hart, about to take a commission in the army, was persuaded to assume full charge of the work of reorganization, and too much credit cannot be given him for his accomplishment. He took an idea and a policy, and with courage, imagination, and driving genius he evolved a world machinery and built a business that handled millions, all without a single breakdown at any point.

One of Mr. Hart's first determinations was to take the cream of the material received from the Signal Corps, put it into great seven-reel features designed to set before the people a comprehensive record of war progress both in the United States and in France, and to have the government itself present the pictures. In plain, the Committee on Public Information went into the motion-picture business as a producer and exhibitor. The funds received from these sources were not to represent profit in any sense of the word. Every cent was to go to the manufacture and distribution of the huge amount of film that we were compelled to distribute without return in other countries as part of the educational campaign of the United States. Wherever possible this foreign distribution was made through the regular commercial channels, but there were various nations where these channels did not exist and where free showings were a necessity. It was also the case that we were put to heavy expense by the policy that sent all of the Committee's films, free of charge, to the encampments in the United States as well as to the picture-shows on the firing-line in France. The other belligerent countries all marketed their film. Why, then, was it not proper for the United States to use its own product in an effort to lighten the taxpayers' load, especially when commercial distribution meant 100 per cent, exhibition?

Our first feature-film was "Pershing's Crusaders," and at intervals of six weeks we produced "America's Answer" and "Under Four Flags." The policy decided upon was this : first, direct exhibition of the feature by the Committee itself in the larger cities in order to establish value and create demand; second, sale, lease, or rental of the feature to the local exhibitors. This activity was placed in the hands of Mr. George Bowles, an experienced theatrical and motion-picture manager, who had made a name for himself in exploiting "The Birth of a Nation." Mr. Bowles operated as many as eight road companies in different sections of the country at one time, each with its own advertising, advance sales, and business management. The utmost care was taken with these "official showings," for what we sought was an impressiveness that would lift them out of the class of ordinary motion-picture productions in the minds of the public. L. S. Rothapfel, of the Rialto and Rivoli theaters in New York City, gave us his own aid and that of his experts in the matter of scenic accessories, orchestra, and incidental music, while for "America's Answer" Frank C. Yohn painted a great canvas, so much a thing of beauty and inspiration that it thrilled audiences into enthusiasm for the motion pictures that followed.

"Pershing's Crusaders" was officially presented in twenty-four cities, "America's Answer" in thirty -four, and "Under Four Flags" in nine. Each of these so-called official showings extended over the period of a week or more and was presented at municipal halls, well-known legitimate or motion-picture theaters centrally located in the respective cities. Wide and intensive publicity and advertising campaigns were conducted by representatives on the spot by means of department-store window and hotel-lobby displays, street-car cards, and banners and newspaper space donated by local advertisers, etc. This campaign, under the direction of Mr. Marcus A. Beeman, also included circularization and personal interviews with representatives, officials, and leading citizens, clubs, societies, and organizations, including large industrial plants and firms. Churches, schools, chambers of commerce, political and social clubs, Young Men's Christian Association, Red Cross, Liberty Loan, and fraternal organizations were among those included in the lists.

Taking, for example, the official presentations in New York City — "Pershing's Crusaders" was shown at the Lyric Theater; "America's Answer" was shown at the George M. Cohan Theater; "Under Four Flags" was shown simultaneously at the Rivoli and Rialto theaters on Broadway. Each of these showings was preceded by a press campaign of about two weeks, several hundred twenty-four-sheet, three-sheet, and one-sheet posters were posted, and thousands of window-cards were displayed, invitations were sent to all local dignitaries, and the showings were attended by representatives of the French, British, and Italian High Commissions. In Washington, members of Congress, the President, his Cabinet, and many other officials attended, all of which facts were used extensively in advertising the features for general distribution.

As features did not consume the whole of the Signal Corps material by any means, we decided upon weekly releases, and in order to give this the highest interest as well as to emphasize the fact of partnership, we entered into co-operative arrangements with the representatives of England, France, and Italy. Each of the four nations contributed a fourth of the material and shared in the profits, and the joint product went forth as the Allied War Review.

Not one of the other governments, it may be explained, made free gifts of its pictures to private enterprise, but handled them upon commercial lines entirely, for in the motion-picture world revenue and circulation are synonymous. It was the first contention of the representatives of the English, French, and Italians that the War Review should be offered to the highest bidder, but the Committee on Public Information insisted that the four film-news weeklies of the United States should be given prior consideration. As a consequence, these four companies — the Hearst-Pathe, the Universal, the Mutual, and the Gaumont — were offered a weekly release of 2,000 feet of firing-line film at a flat rate of $5,000. The representatives of the Allied governments felt that this price robbed them of fair and demonstrated profits, but the Committee on Public Information gained its point through insistence.

At that period in the negotiations when the largest of the weeklies had accepted the contract, one company addressed a series of letters to various officials of the government, complaining bitterly of the arrangement, not only insisting that the films should be given free of charge, but even hinting at a subsidy. As a consequence of this attitude, the Official War Review was offered to the motion-picture industry as a whole, as was the case with the feature-film. Every exchange was given an opportunity to bid, and the Pathe Exchange, Inc., was awarded the contract on these terms: Eighty per cent, of proceeds and a guaranty of showing in 25,000 theaters as a minimum.

Even after the making of the feature-films and the Official War Review there remained a certain amount of material that had as high publicity value as any of the other footage, and we placed this at the disposal of the news weeklies at the nominal cost of one dollar a foot, an equitable arrangement that worked.

With the tremendous advertising gained from these governmental showings in the principal cities we were then able to go direct to the exhibitor in the certainty of his keen interest. Our aim was to secure the widest possible distribution of the government films in the shortest possible time. To this end every effort was made to eliminate the competitive idea from the minds of exhibitors, and wherever possible to secure simultaneous showings in houses which ordinarily competed for pictures.

Mr. Denis Sullivan and his assistant, Mr. George Meeker, who were in charge of domestic distribution through motion-picture houses, inaugurated a proportionate selling plan whereby the rental charged every house was based on the average income derived from that particular house. By this method the small house as well as the large one could afford to run the government films. The result of these efforts to obtain the widest possible showing for government films was amazingly successful, and the showing of

124, "America's Answer" broke all records for range of distribution of any feature of any description ever marketed.

On the basis of twelve thousand motion-picture theaters in the United States, over one-half the total number of theaters in the country exhibited the Official War Review and nearly that portion of "America's Answer." In the film industry a booking of 40 per cent, of the theaters is considered as 100 per cent, distribution because of the close proximity of a great number of theaters, rendering them dependent on the same patronage — that is, theaters are plotted as available in zones rather than as individual theaters; thus three theaters in one zone present but one possible booking because of the identity of clientele. Taking this into consideration, the distribution of government features approximated 80 per cent, and 90 per cent, rather than 50 per cent, distribution, although on "America's Answer," in certain territories such as New York and Seattle, the percentage of total theaters booked reached over 60 per cent, and 54 per cent., respectively, which on the above basis would equal 100 per cent, distribution.

The success of the feature-films and the Official War Review are best indicated by the following figures:

"Pershing's Crusaders" $181,741 69 "America's Answer" 185,144 30 "Under Four Flags" 63,946 48 Official War Review 334,622 35 Our Bridge of Ships 992 41 U. S. A. Series 13,864 98 Our Colored Fighters 640 60 News Weekly 15,150 00 Miscellaneous sales. . 56,641 58 Total sales from films $852,744 30

It was not only the case that the entire output of the Division of Films was handed over to the Foreign Section for circulation in the various countries of the world, but the Educational Department saw to it that all of the Committee pictures were furnished free of charge to every proper organization in the United States.

The films were loaned to army and navy stations, educational and patriotic institutions, without charge except transportation. Other organizations and individuals were usually charged one dollar per reel for each day used. When it is considered that the average reel costs forty dollars for raw stock and printing, and that the average life of a reel is about two hundred runs, it can be readily seen that this charge of one dollar per reel barely covered cost. For the purpose of comparison the leading motion-picture houses in New York pay as high as three thousand dollars for the use of one picture for one week's run.

On June 1, 1918, the Division of Films formed a scenario department to experiment with an interesting theory. The departments at Washington had been in the habit of contracting for the production of films on propaganda subjects and then making additional contracts to secure a more or less limited circulation of the pictures when produced. The general attitude of motion-picture exhibitors was that propaganda pictures were uninteresting to audiences and could have no regular place in their theaters. The theory of the Division of Films was that the fault lay in the fact that propaganda pictures had never been properly made, and that if skill and care were employed in the preparation of the scenarios the resultant pictures could secure place in regular motion-picture programs. Producers were at first skeptical, but in the end they agreed to undertake the production of one-reel pictures for which the division was to supply the scenario, the list of locations, and permits for filming the same, and to give every possible co-operation, all without charge. The finished picture became the sole property of the producer, who obligated himself merely to give it the widest possible circulation after it had been approved by the Division of Films. Mr. Rufus Steele was given charge of the new venture, and while many difficulties had to be overcome, the theory proved sound.

The following one-reel pictures were produced:

By the Paramount-Bray Pictograph:

Says Uncle Sam: Keep 'Em Singing and Nothing Can Lick

'Em — the purpose and method of the vocal training of the army and the navy. Says Uncle Sam: I Run the Biggest Life-Insurance Company on Earth — story of the War Risk Insurance Bureau. Says Uncle Sam: A Girl's a Man for A' That — story of 'women in war-work. Says Uncle Sam: I'll Help Every Willing Worker Find a

Job — story of the United States Employment Service. By thePatheCo.:

Solving the Farm Problem of the Nation — story of the United

States Boys' Working Reserve.

Feeding the Fighter — how the army was supplied with food. By the Universal Co.:

Reclaiming the Soldiers' Duds — the salvage work of the War

Department. The American Indian Gets Into the War Game — how the

Indian took his place, both in the military forces and in food production. By C. L. Chester:

Schooling Our Fighting Mechanics — work of the Committee on Education and Special Training of the War Department. There Shall Be No Cripples — rehabilitation work of the Surgeon-General's Office. Colored Americans — activities of the negroes, both in the military forces and in war work at home. It's an Engineers' War — work of the Engineers' training-camps of the War Department. Finding and Fixing the Enemy — certain work of the Engineer

Corps of the War Department. Waging War in Washington — the method of government operation.

All the Comforts of Home — methods of War Department in providing necessities and conveniences for soldiers.

Masters for the Merchant Marine — development of both officers and men for the new merchant navy.

The College for Camp Cooks — thorough training given men who were to prepare the food for the soldiers.

Rail-less Railroads — work of the Highway Transport Committee.

The following pictures, of more than one reel in length, were made by private producers from our scenarios and under our supervision:

By C. L. Chester:

"The Miracle of the Ships," a six-reel picture covering in detail the construction of the carrier ships at Hog Island and other yards, and showing every detail of construction.

By The W. W. Hodkinson Corporation:

"Made in America," an eight-reel picture telling the full story of the Liberty Army. It follows the soldier through every stage of the draft and through every step of his military, physical, and social development and into the actual combat overseas. Such a picture was greatly desired by General Munson, head of the Morale Branch of the War Department, for circulation in the army and among the people of the United States, as well as abroad. As this picture was to show the relation of the home life to the soldier, professional actors and actresses and much studio-work were required. The Morale Branch had no funds to pay for such a picture, and the Division of Films was able to work out a scenario of such promise that the Hodkinson Corporation agreed to produce the picture at their own expense, which they did at a cost exceeding forty thousand dollars.

Late in the summer of 1918, our system of production through outside concerns having worked out satisfactorily, it was decided to undertake production on our own account. Accordingly, scenarios were written, and the following six two-reel pictures were produced by the division : "If Your Soldier's Hit," showing the operation of the regimental detachment and field hospital unit in getting wounded men off the front line, giving them first aid, and conveying them safely to recuperation bases. This picture was made in conjunction with the Surgeon-General's Office at the training-camp at Fort Riley, Kansas, and the scenes were supplemented by scenes from overseas.

"Our Wings of Victory/' showing the complete processes of the manufacture and operation of airplanes for war purposes. The construction scenes were taken in the chief 'plane-factories and were supplemented by extraordinary scenes of flying.

"Our Horses of War," showing how the remount depots of the army obtain and train the horses and mules for cavalry and artillery purposes, and the feats performed by the animals so trained under the manipulation of the soldiers.

"Making the Nation Fit," showing how new recruits -for the great army and the great navy were developed to a stage of physical fitness.

"The Storm of Steel," showing how twelve billions of the Liberty Loan money was being expended in the construction of guns and munitions. These scenes were taken in half a dozen of the chief gun-plants of the country and on the proving-grounds and are the most complete record in the government's possession of this undertaking.

"The Bath of Bullets," showing the development and use of machine-guns in this war.

A second series of six two-reel pictures had been laid out and the filming was about to proceed when the armistice caused the division to suspend all new undertakings.

The distribution of still pictures under the direction of Mr. Rubel and Mr. Harold E. Hecht also underwent a process of reorganization as time presented new needs and afforded new opportunities. One of the first of the new plans was the inauguration of the "permit system." While the military authorities were correct in refusing general admission to ordnance and airplane factories, to navy -yards and to certain cantonments where secret tests were being made, there was no good reason for barring private photographers from the majority of the camps and factories. Mr. Rubel, therefore, in consultation with the army and the navy, worked out a plan of permits that safeguarded military secrets even while it opened up the military effort to the cameras of civilians. Our procedure investigated each applicant and certified him to the camp commanders, and a "voluntary censorship" agreed to by the commercial photographers protected against indiscretion. Under this system, and as illustrative of its liberal provisions, the division issued more than six thousand permits, the daily applications ranging from ten to twenty-five.

This arrangement took care of domestic photographers, permitting Mr. Rubel to devote all his energy to the distribution of still pictures taken by the Signal Corps in France. In the first days, when the shipments were few, it was a simple matter to spread the photographs among the newspapers, but as great bundles commenced to be received, our simple machinery broke down. To meet the new demand, an arrangement was made with the Photographic Association, including such firms as Underwood & Underwood, International Film Service, Brown Bros., Paul Thompson, Kadel & Herbert, Harris & Ewing, Western Newspaper Union, the Newspaper Enterprise Association, and other firms that syndicated photographs nationally and internationally. Through organized effort these syndicate members placed our photographs in daily newspapers, weekly and monthly magazines, technical publications, and other mediums. To expedite production and delivery, a laboratory was secured in New York City and operated by the Signal Corps Photographic Division in conjunction with Columbia University. The prices fixed were nominal, designed only to cover expenses.

This department also furnished quantities of photographs each week to the Foreign Service Section of the Committee for use in propaganda media in the Allied and neutral nations. Photographs were also furnished for publicity purposes for motion-picture features and we reproduced in hundreds of newspapers reaching millions of circulation. Another means of distribution of war photographs was to private collections, to universities, historical societies, state and municipal libraries, and any organization that could make use of pictures for future reference. Also, individuals who were interested in getting pictures of war activities, more especially those who had members of their families or friends directly connected with the war.

The Department of Slides was next added to the, activities of the bureau and supplied a long-felt need for official and authentic photographs in stereopticon form for the use of ministers, lecturers, school-teachers, and others. Mr. Rubel and Mr. Hecht succeeded in putting out standard size balck and white slides of the finest workmanship at fifteen cents each, which price saved the user from 50 to 80 per cent. At first the production of slides was entirely dependent on the laboratory of the Signal Corps in Washington, which, as the orders increased in volume, proved inadequate to turn out sufficient quantity. The Committee on Public Information then built its own laboratory with ample production facilities. Out of this idea came another — that of illustrated war lectures. Taking the "Ruined Churches of France" as a first subject, for the original demand came from ministers for the most part, we prepared 50 slides, and accompanied them with a wonderful little lecture written movingly by Dr. John S. P. Tatlock of Leland Stanford University. Such was its enthusiastic reception that the following lectures were issued in rapid sequence: "Our Boys in France," 100 slides; "Building a Bridge of Ships to Pershing," 50 slides; "To Berlin via the Air Route," 50 slides; •'Making the American Army," 50 slides. About 700 of these sets were ordered by patriotic organizations and individuals, as well as churches and schools.

The next series of illustrated lectures to be distributed were as follows : " The Call to Arms," 58 slides ; " Trenches and Trench Warfare," 73 slides; "Airplanes and How Made," 61 slides; "Flying for America," 54 slides; "The American Navy," 51 slides; "The Navy at Work," 36 slides; "Building a Bridge of Ships," 63 slides; "Transporting the Army to France," 63 slides; " Carrying the Home to the Camp," 61 slides. These sets were prepared and the lectures written by George F. Zook, professor of Modern European History in Pennsylvania State College. A total of 900 were ordered. While the greater number of orders came from various parts of this country, many were received from foreign countries.

In the year of existence the Department of Slides distributed a total of 200,000 slides.