ABSTRACT

W IIILE the Vita scope and the Lumiere Cinematographe were working out the major theme of motion picture destiny, the Latham project continued a wavering struggle for existence.

The gay carelessness of Otway and Grey Latham, who made merry with their first flush of success, produced frictions within the concern with Enoch J. Rector and Samuel J. Tilden, Jr., who were more seriously attending to the very immediate technical and commercial problems of the new business.