Item Info

Publication Date: 4/21/1915
Media Type: House Organs
Source: Theatre Collection
Notes:

Determination, not only to attain his ends, but to be worthy of them — this might truthfully be said to embody the first precept in the lexicon of the youngest and newest of Lubin producers. 

Joseph Kaufman as a boy went upon the stage, and he had not grown much older when he learned that determination to succeed is not enough: the aspirant must fit himself for the next highest post. This he has done from the days when he began as call-boy. Determination — and study — promoted him to a small part in an emergency, and from there he continued to advance. Assistant stage manager, actor, then as stage producer — in each capacity he has been associated with scores of the ablest players and most meritorious productions of the contemporary stage.

The famous Empire Theater Company, Charles Frohman’s star company, the real successor of Daly’s history-making aggregation, claimed Kaufman season after season; and later he became identified with his best-known role, that of the operator in “Via Wireless.” He was starred by Frederic Thomson in this play. 

His artistic experience has been rounded out by several stock engagements and his connection with Philadelphia’s Little Theater further increased his professional standing. 

Kaufman’s engagement by the Lubin Company two years ago was another example of their policy of drafting into the motion picture service as much of the best the stage had developed as was possible, and, while there is a vast difference between the stage and every department of cinematographic work, the fundamentals are the same. A certain adaptation to the demands of the screen was all that was necessary. After this Joseph Kaufman became as finished a player before the camera as he had been behind the footlights. His surpassing skill in make-up, his consistent versatility, his polished artistry, have made him more than a valuable addition to the Lubin forces: he has, by the very force of his gifts, become a quiet yet powerful factor in making for Lubin supremacy. 

His most noteworthy performance so far as Roger Hastings, the young society man, who fell under the curse of cocaine in “The Drug Terror,” but in all the less important productions he has disclosed invariable excellence. 

Three months ago Kaufman’s next promotion came when he was made a director and assigned to the production of light comedies, with Miss Ethel Clayton as leading woman. A succession of highly artistic single-reel stories resulted. Kaufman’s acting ability, supplemented by his capital direction and painstaking care in the matter of detail have struck a new note in the Lubin scale of achievement. The Kaufman comedies are in a class by themselves. Plans for his future as a producer include some stories to be done on a large scale, in which his penchant for tremendous effects and wealth of scenic environment will be given full sway. 

The personal phase of Kaufman’s character is something about which he is unaffectedly reticent. He does not care for the exploitation of his automobile nor of anything outside his work. He does not seek to pique curiosity by reason of this but rather because he feels that, after all, the production of pictures in his work — his real business, and the only part of his life in which the public could possibly be concerned. To make that business better and better, every day, to convince a new friend in front of the screen of his earnestness in endeavoring to entertain and, perhaps, to inspire sometime — this suffices for Joseph Kaufman. It is enough for any man. 

Call Number: Lubin - Bulletin II:4