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the supervisor or producer. More-
over, the relationship between the
two men became strained as Hart's
films earned millions for Ince, while
Hart continued to receive a relatively
meager salary. It was characteristic
of Hart that it was an argument over
Hart's pony, Fritz, that ended their
personal relations. For some unex-
plained reason Ince had taken a vio-
lent dislike to the little pinto.
After the break Ince's career went
steadily downward. He quarreled
with Triangle and was forced out of
the company. Because he had Hart
Louise Glaum, Robt. McKim & Hart ... under personal contract, Ince was
straight, fast-moving action. There able to make a deal with Adolph
is a real feeling of Western space and Zukor, of Paramount-Famous Players,
dust, and a sense of the elements of who had formed a company called
nature. The moving camera was used Artcraft to release special produc-
tions with big stars. To get Hart,
with intelligence. Shot-compositions
Zukor was forced to take Dorothy
were forceful and arresting. Skillful
Dalton, Enid Bennett and Charles
cutting gave both films dramatic pace.
Ray, whom he did not want. It was
Those were the ingredients that
this that later lost Ince his suit
made all Hart's pictures classics of
their kind-and as big box-office
draws as the films of Griffith, Fair- ... and Margery Wilson & Hart in
banks, and Pickford. RETURN OF DRAW EGAN
A great deal has been written by
both American and European film
historians (notably the French) about
Ince being responsible for the success
of the Hart films. The facts are
otherwise. Ince never directed Hart
in a single film, and after the first few
productions, had little to do with the
supervision of any of them. Hart was
introduced to filmaking by Ince and
undoubtedly acquired the basic tech-
niques from him. But, as time passed,
Ince had nothing whatever to do with
the Hart productions, although he
continued to receive screen credit as