- Historic Sites
Learning To Go To The Movies
The great democratic art form got off to a very rocky start. People simply didn’t want to crowd into a dark room to look at a flickering light, and it took nearly twenty years for Americans and motion pictures to embrace each other.
November 1993 | Volume 44, Issue 7
On July 5, 1896, the Los Angeles Times greeted the imminent arrival of Thomas Alva Edison’s moving-picture projector with enormous enthusiasm: “The vitascope is coming to town. It is safe to predict that when it is set up at the Orpheum and set a-going, it will cause a sensation as the city has not known for many a long day.”
Thousands of city residents had already viewed moving pictures by peering into the eyeholes of peep-show machines on display in saloons, railroad terminals, and amusement parlors, but these images were no bigger than a postcard. Never before had anyone seen moving pictures projected big as life on a screen.
The commercial possibilities of such an exhibition seemed boundless, and inventors, electricians, and showmen on two continents had been hard at work on a “screen machine” for several years. That the one about to make its debut at the Orpheum vaudeville theater had not actually been invented by Edison was kept secret by its promoters. The Edison name was much too valuable to compromise by suggesting that there might be others who were the Wizard’s equal in imagination and technical skill.
Tally’s back room with its three chairs and seven peepholes was arguably the nation’s first motion-picture theater.
The projector that bore Edison’s name had, in fact, been invented by Thomas Arm‚t, a Washington, D.C., bookkeeper, and his partner, C. Francis Jenkins, a government stenographer. After months of tinkering, separately and together, the two men had in the summer of 1895 put together a workable projector, named it the Phantoscope, and arranged to exhibit it at the Cotton States and International Exposition in Atlanta, Georgia, in September of the same year.
The partners borrowed money from relatives to erect an outdoor tent theater on the fairgrounds, arranged for a series of newspaper articles on their wondrous invention, and printed complimentary tickets. When the expected crowds failed to materialize, in large part because fairgoers were not willing to pay a quarter for an amusement they knew nothing about, Arm‚t and Jenkins hired a barker who invited visitors to enter free and pay at the exit only if they were satisfied. The offer worked, but the customers it attracted entered the theater with only the vaguest idea of what they were going to see. Never having viewed projected moving pictures before, they did not know that the theater had to be darkened. “The moment the lights were turned off for the beginning of the show a panic ensued,” wrote the film historian Terry Ramsaye some thirty years later. “The visitors had a notion that expositions were dangerous places where pickpockets might be expected on every side. This was, the movie audience thought, just a new dodge for trapping the unwary in the dark.”
Jenkins and Armat never did figure out how to introduce their moving pictures to prospective audiences. They ended up losing the fifteen hundred dollars they had borrowed, and the rights to their projector were eventually sold to the company that licensed and distributed Edison’s peep-show machines.
The Los Angeles debut of the Phantoscope, renamed Edison’s Vitascope, went off without a hitch. The Orpheum Theater was filled with vaudeville patrons who, though not accustomed to sitting in the dark, had no reason to fear that they would be assaulted by those seated next to them. The Los Angeles Times carried a complete description of the exhibition for those who had been unfortunate or unadventurous enough not to buy tickets in advance or to secure standing room at the last minute:
“The theatre was darkened until it was as black as midnight. Suddenly a strange whirling sound was heard. Upon a huge white sheet flashed forth the figure of Anna Belle Sun, [a dancer whose real name was Annabelle Whitford] whirling through the mazes of the serpentine dance. She swayed and nodded and tripped it lightly, the filmy draperies rising and falling and floating this way and that, all reproduced with startling reality, and the whole without a break except that now and then one could see swift electric sparks. … Then, without warning, darkness and the roar of applause that shook the theater; and knew no pause till the next picture was flashed on the screen. This was long, lanky Uncle Sam who was defending Venezuela from fat little John Bull, and forcing the bully to his knees. Next came a representation of Herald Square in New York with streetcars and vans moving up and down, then Cissy Fitzgerald’s dance and last of all a representation of the way May Irwin and John C. Rice kiss. [ The May Irwin Kiss , perhaps the most popular of the early films, was a fifteen-second close-up of the embrace in the closing scene of the musical comedy The Widow Jones .] Their smiles and glances and expressive gestures and the final joyous, overpowering, luscious osculation was repeated again and again, while the audience fairly shrieked and howled approval. The vitascope is a wonder, a marvel, an outstanding example of human ingenuity and it had an instantaneous success on this, its first exhibition in Los Angeles.”