The treasurer and secretary, Mr. Simeon Geltfin, had once upon a time been proprietor of the Ne Plus Ultra Misfit Clothing Parlors at Utica, New York, a place where secondhand habiliments, scoured and ironed, dangled luringly in show windows bearing such enticing labels as "Tailor's Sample--Nobby--$9.80," "Bargain--Take Me Home For $5.60," and "These Trousers Were Uncalled For--$2.75."
The premier director, Mr. Bertram Colfax, numbered not one but two chrysalis changes in his career. In the grub stage, as it were, he had begun life as Lemuel Sims, a very grubby grub indeed, becoming Colfax at the same time he became property man for a repertoire troupe playing county-fair weeks in the Middle West.
As for the scenario editor and continuity writer, he in a prior condition of life had solicited advertisements for a trade journal. So it went right down the line.
At the time of the beginning of this narrative Lobel Masterfilms, Inc., had attained an eminence of what might be called fair-to-medium prominence in the moving-picture field. In other words, it now was able to pay its stars salaries running up into the multiples of tens of thousands of dollars a year and the bank which carried its paper had not yet felt justified in installing a chartered accountant in the home offices to check the finances and collect the interest on the loans outstanding. Before reaching this position the concern had passed through nearly all the customary intervening stages. Nearly a decade rearward, back in the dark ages of the filmic cosmos, the Jurassic Period of pictures, so to speak, this little group of pathfinders tracking under the chieftainship of Mr. Lobel into almost uncharted wilds of artistic endeavor had dabbled in slap-stick one reelers featuring the plastic pie and the treacherous seltzer siphon, also the trick staircase, the educated mustache and the performing doormat.
Next--following along the line of least resistance--the adventurers went in more or less extensively for wild-western dramas replete with stagecoach robberies and abounding in hair pants. If the head bad man--not the secondary bad man who stayed bad all through, or the tertiary bad man who was fatally extinguished with gun-fire in Reel Two, but the chief, or primary, bad man who reformed and married Little Nell, the unspoiled child of Death Valley--wore the smartest frontier get-up of current year's vintage that the Chicago mail-order houses could turn out; if Little Nell's father, appearing contemporaneously, dressed according to the mode laid down for Forty-niners by such indubitable authorities as Bret Harte; if the sheriff stalked in and out of lens range attired as a Mississippi River gambler was popularly supposed to have been attired in the period 1860 to 1875; and if finally the cavalry troopers from the near-by army post sported the wide hats and khaki shirts which came into governmental vogue about the time of the Spanish War, all very well and good. The action was everything; the sartorial accessories were as they might be and were and frequently still are.