History
William Selig initially worked as a Vaudeville magician in the Midwest and then a minstrel show operator on the west coast in California.[5] Returning to Chicago, Chicago, he entered the film business using his own photographic equipment, free from the patent restrictions that were imposed through companies controlled by Thomas Edison. In 1896, with help from Union Metal Works and Andrew Schustek, he shot his first film, The Tramp and the Dog.
He then went on to successfully produce local actualities, slapstick comedies, early travelogues and industrial films (a major client was Armour and Company). In 1908, Selig Polyscope was involved in the production of The Fairylogue and Radio-Plays, a touring "multimedia" attempt to bring L. Frank Baum's Oz books to a wider public (which played to full houses but was nonetheless a financial disaster for Baum).
By 1909, Selig had studios making short features in Chicago and the Edendale district of Los Angeles. The company also distributed stock film footage and titles from other studios. That year, Roscoe Arbuckle's first movie was a Selig comedy short.
The company's early existence was fraught with legal turmoil over disputes with lawyers representing Thomas Edison's interests. In 1909, Selig and several other studio heads settled with Edison by creating an alliance with the inventor. Effectively a cartel, Motion Picture Patents Company dominated the industry for a few years until the Supreme Court (in 1913 and 1915) ruled the firm was an illegal monopoly.
In 1910, Selig Polyscope produced a wholly new filmed version of The Wonderful Wizard of Oz. The company produced the first commercial two-reel film, Damon and Pythias, successfully distributed its pictures in Great Britain, and maintained an office in London for several years before the outbreak of World War I. Although Selig Polyscope produced a wide variety of moving pictures, the company was most widely known for its wild animal shorts, historical subjects and early westerns.[6][7]
In 1916, Selig Polyscope was hired by the Indiana Historical Commission to research, plan and film "the centennial historical picture of Indiana." Estimated to be a seven-reel production that would require the use of seven thousand feet of film, two reels were to be devoted to a prologue that detailed the state's early history, with the remainder of the reels to address the period of 1816 to 1916. Company location scouts reportedly searched for three hundred sites for actors and actresses to "re-enact the [historical] scenes on the identical grounds where they occurred." Gillson Willetts wrote the screenplay.[8]
Edendale
Attracted by Southern California's mild, dry climate, varied geography for location shooting and isolation from Edison's legal representatives on the east coast, Selig set up his studio in Edendale in 1909 with director Francis Boggs, who began the facility in a rented bungalow and quickly expanded, designing the studio's front entrance after Mission San Gabriel.[9]
Between 1910 and 1913, when it released the film to audiences nationwide, Selig Polyscope filmed The Coming of Columbus. Described as "the sensation of the moving picture world" and "the most expensive, the most elaborate and most wonderful graphic moving picture film ever made," the three-reel movie portrayed "the vital events in the life and discoveries of Christopher Columbus" that were "with historic exactness." The film took three years to develop at a cost of more than $50,000.[10]
An early production there was The Count of Monte Cristo. Edendale soon became Selig Polyscope's headquarters, but in 1911 Boggs was murdered by a Japanese gardener who also wounded Selig. The company produced hundreds of short features at Edendale, including many early westerns featuring Tom Mix (which were also shot at Las Vegas, New Mexico).
