In the 1970s I used to
do a slide and motion picture talk on the history of the Watch Tower Society – doing
a balancing act with a slide projector, cassette tape recorder, and eventually
cine projector, plus microphone and my own voice. It was somewhat fraught, but
the Photodrama of Creation played a big part in this.
Initially my “slides”
were actually photographs of the 40 plus postcards of the Photodrama that I had
obtained via another hobby. Later, copies of slides became available. But some
odd frames of film of CTR were in circulation – often stuck on cards as
souvenir bookmarks. I managed to track down their source and in the early 1970s
visited an elderly JW who had been a projectionist in 1914. I managed to
retrieve from his attic a roll of film of CTR, and to cut a long story short,
that piece of film now features in the reconstructed Photodrama videos
available online. (The person who put it all together with extreme dedication has
subsequently managed to complete the sequence, adding the bits that my source
had sadly already cut off the roll for souvenirs)
My source, who had the
initials HR, told tales of being imprisoned in a metal projection box at some
places. Because most commercial film was nitrate stock – although surprisingly
the Photodrama films weren’t – they were highly inflammable, and after some
disasters with picture houses burning down, in the UK at least it was customary for
the projectionist to be buried in a metal box. If the film caught fire – well,
he could trust in the resurrection – but the audience could get out. HR told
tales of working in his under garments, it was so hot in the box at times.
There were about half a
dozen who were trained at the same time, he did the work for about six months,
and met CTR in person at the London opening. (He also knew Jesse Hemery, Paul
Johnson and others of that era, but that’s another story).
In 1974 I wrote him for
some further information – asking about such matters as how many staff were
needed for a full performance, how many films of Pastor Russell were shown, how
the heralded synchronized sound was achieved (or not as the case may be), and how
the Eureka Drama worked? I don’t have a copy of my original letter – these were
pre-computer days – but I do have his reply, in very neat
handwriting for someone who was then in his late eighties – and still travelled
around by motorised bicycle (moped).
I am reproducing his
reply here – and the questions I must have asked him initially will be fairly
obvious.
Dear ....
Thank you for your
letter. I am very pleased to have been able to contribute something towards the
picture.
It is going back nearly
to the “Dark Ages” to try and recall what happened.
Now to your five
questions:
1.
Floor manager,
operator, sister on gramophones (2 of them), 4 to 8 sisters acting as ushers,
complete with torch light – dressed in black frocks, with white frilled aprons.
No. required according
to size of Hall.
Sometimes the
projector operator would see all 4 parts through – other times he took his part
1,2,3, or 4, to another exhibition.
There was one
part shown each night.
2.
Film of Bro
Russell opened each part.
The “Hallelujah
Chorus” was played just preceding, and as it stopped, the film of CTR came on
screen.
3.
The
synchronization of the films with the talking record was achieved by the skill
of the operator – one controlled the film according to the voice and movement
of CTR’s hands.
As one example
in part three, there was a Frenchman (I think) singing “La Rameau” which also
had to be synchronized.
If you were too
quick (not understanding French) he would walk off – while song was still on!!!
The variable
speed of the m/c (machine) was only the skill of the operator. Machines had a “Maltese
Cross” which jerked the picture down each revolution to the next.
4.
No such thing as
sound track was even heard of in those days – but music was played with
films.
5.
The ‘Eureka’ was
an entirely different matter, and only used, as far as I know, where no
electricity was available – such as country villages – I did six of them – I cannot
remember now if any music was used with these.
Re: no. 1
addition – 2 gramophones were used where it was possible to get them (on loan
from local shop)
Trust this
information, to the best of recollection, will fill in some details.
The films
gradually wore out, particularly part 3, where Jesus in coloured robe, required
more light and thus heat, so the films tended to cockle,
resulting in broken sprockets – most machines would not take such film – the Guilbert
machine, with a little coaxing, would pass it – hence No 3 part had to have
that machine, which incidentally, I got stuck on quite a bit, latterly.
I enjoyed the
work, and to this day the sound of the “Hallelujah Chorus” will quicken my
pulse.
I can’t think of
anything else, but a question from you may jog the memory, so write if you wish
too (sic)
Best wishes, I
am sure your effort will be much appreciated.
H
4 comments:
Great!!
Thanks Jerome.
So Interesting! We miss those eyewitnesses nowadays.
Ton
At my thesis I included Appendix IV with general information about The Photo-Drama... may be someone else can find it interesting for this purpose or, of couse, can give me some info about errors I included.
Miquel Angel Plaza-Navas
And a second mail. I am interested about the presence of the Photo-Drama in Spain. There is really few information. For example, a well known canadian Bible Student called George Young was in charge Bible Student work in Spain between 1925 and 1928 and it seems that he used The Photo-Drama in this country. I suppose it was the Eureka edition... but I do not know. Can anybody add any information about this? Can anyone have access to personal info about George Young and if he used the Photo-Drama in Spain?
Miquel Angel Plaza-Navas
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