LIBRARY
r THi MUSEUM OF MODERN ART
Receiwsd:
Scanned from the collection of Eileen Bowser
Coordinated by the Media History Digital Library www.mediahistoryproject.org
Funded by a donation from Richard Scheckman
Digitized by the Internet Archive
in 2011 with funding from
Media History Digital Library
http://www.archive.org/details/movingpicturewor25newy
Vol. 25, No. 1
July 3, 1915
Price 10 Cents
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EXHIBITORS' GrUIDE/
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Madison Square Station
NEW YORK
17 Madison Avenue
Telephone Madison Square 3S10
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THE MOVING PICTURE WORLD
ARK TINE
OR go down to defeat! You can't stem the tide! All over the country, Thanhouser releases monopolize the lobby display and the program. They are big enough and powerful enough to stand heavy billing! The proof is — they are doing it! Don't wait! You mrst do it, too! And you'll never find a better time than RIGHT NOW!
July 3, 1915
Trv these releases
66
CROSSED WHIRE:
99
I engaged Miss Ina Hammer specially to interpret a vulturish, rapacious role, because 1 wauled to get a terrific effect. Florence LaBadie plays the opposite part in her usual sympathetic style, and — well, I tell you. the contrast in types is overwhelming! The story is a whip-lash of situations, and it's all done in surpassing Thanhouser style. You'll dream about it long after you 've seen it !
Released in Two Reels. Tuesday, June 29th.
66
Years
TRADE MARK
Aftler Appomattox
9»
A little war story — a breath of the sweetness, the nobility, the simplicity of the girls of fifty years ago — and Lorraine Hiding is just that girl! By the way — it's a fitting Inde- pendence Day offering.
Released in One Reel. Sunday, July 4th.
Edwin Thanhouser presents the
"Tfine Sal
FALSTAFF COMEDY
99
Rich, clean humor, rollicking fun, a gymful of pretty girls, fine acting and Peggy Burke in the role of a saucy, swat-'em-in- the-eye, winky, dinky little college tom-boy. The whole combination spells with mighty truth the name Jpusttfff
FALSTAFF COMEDY. «"««/:
Released in One Reel. Friday, July 2nd.
FALSTAFF TRADE MARK
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THANHOUSER FIILM CORP
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PROGRAM
Hew RodhieHe, M» Y.
July 3, 1915
THE MOVING PICTURE WORLD
Released Exclusively through the ttutualplm Corporation
Plucky Pup
8 -10" Photos ojourpi&yers can be had by sending to publicity Dept l5CentoJbrone-50 Cents jbrsetof4
A WONDERFUL LOBBY DISPLAY 22-28"Ptioto layouts inCharacter makeup <f Mabel Jtormand S Roscoe^tbucl\le 20 Certs, each.
: NEW YORK MOHflON PiaURE CORPORATION i
L.ONGACRE BUILDING,42<3 STR.and BROADWAY.
NEW YORK. KESSEL & BAUMANN, EXECUTIVES,
THOS.H. INCE SMACK SENNETT, DIRECTOR -GENERALS
THE MOVING PICTURE WORLD
July 3, 1915
jfeST BEOAPWAb)
FEATCI RE RELEASE
THIS is the most important announce- ment ever made to Exhibitors. It is the proof positive that we have made good on our promise to release everv week on the regular UNIVERSAL WEEKLY PROGRAM a great (and genuine) Broadway star or a famous Broadway play or best seller book. Arrangements have been made far in advance. There will be no break in our plans.
The first release on July 12 is more than a truly great production. It is the end for you of paying more for a "capacity" feature than your capacity receipts amount to. The advance in cost over the old program is so slight that the net to you means more money than you have ever made before.
Write or wire your Exchange for complete de- tails. Magnificent advertising matter has been prepared. Everything is ready for a tremendous success. The Universal assures you that this is the greatest opportunity ever presented to exhibitors. When the Uni- versal says it, it's true.
Universal Film Manufacturing Co.
CARL LAEMMLE, President
"'The Largest Film Manu'acturing Concern in the Universe"
1600 BROADWAY NEW YORK
The film industry is agreed that
the Universal has "put one over.
July 3, 1915
THE MOVING PICTURE WORLD
THE MOVING PICTURE WORLD
July 3, 1915
I
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Presented by
The UNIVERSALl
Remarkable 5-Ree
SCANDAL"-
Written by LOIS WEBER-Author of
Direction of Lois Weber
The story of "Scandal" deals with the tragedy of idle gossip. Its talented au thor, LOIS WEBER, the justly celebrated author of "HYPOCRITES," got her ide« from a newspaper editorial, based on an every day newspaper item. Thus the story is intensely human, fascinating in its swiftly moving plot development. There is nothing morbid or distasteful about this absorbing play — but it does make one pause and think with regret of every word of idle gossip one has ever listened to or repeated. "Scan- dal" is the sort of photoplay that makes the movies worth while. It is the sort that gets to the movie fans hard. It is the sort of play you cannot boost too strongly. The Universal is noted for doing big things in an unusual way, and "Scandal" is one of the biggest things the Universal has ever done.
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Released on the Regular Universal' Program July 19
ARRANGE FOR YOUR
1
BOOKING DATE NOW
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July 3, 1915
THE MOVING PICTURE WORLD
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"And there's a lust no man can tame, Of\loudly publishing a neighbor's shame; On eagles' wings immortal scandals fly. While virtuous actions are but born and die. "
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FILM Mfg. Co.
Broadway Special Feature "A Drama You'll Never Forget"
"HYPOCRITES
and Phillips Smalley
Remember that "Scandal" is by LOIS WEBER, author of "Hypocrites." Remember that "Scandal" is released on the REGULAR UNIVERSAL PROGRAM. Remember that "Scandal" is included in your regular program at so slight an advance in cost that you'll never feel it. Yet the play is a bigger special feature than those you have been paying big extra money for.
Magnificent Morgan paper has been prepared for "Scan- dal"— a 16-sheet, a 6-sheet, a 3-sheet and two 1-sheets. This is a chance for you to clean up some big money. Heralds, banners, throwaways, snipes, post cards and ad cuts, also player cards and player poster portraits are in preparation. Wire or write your nearest Ex- change for booking date, or direct to
UNIVERSAL Film Mfg. Co.
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CARL LAEMMLE, President
" The Largest Film Manufacturing Concern in the Universe"
1600 Broadway New York
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THE MOVING PICTURE WORLD
July 3, 1915
"The Broken Coin"
Advance Bookings Are Growing Bigger Every Day
J i ry It is worthy of all the good things we have been saying about it; because
US I JD CC3.USC it is the culminating and superior achievement of the Universal in serial pro- — — — ^— ^ ^— ^^-^— duction. Because it was written by one of the greatest American authors, Emerson Hough, who wrote and writes only big things such as "54-40 — or Fight," "The Mississippi Bubble," "John Rawn," and others, known to millions as red-blooded books written by a real man.
" THE BROKEN COIN
y>
Just Because
in the Broken Coin is far better even than it was then.
the scenario was written by Grace Cunard, who is also leading woman. The same beautiful Grace Cunard who made millions of fans who saw her in "Lucille Love" think her the loveliest actress in the film world. Her work
THE BROKEN COIN"
Just Because
Ford has grown, too. He is one of the big screen stars today.
the leading man is Francis Ford. Because Francis Ford produced the won- derful "Broken Coin." The same great actor and artistic producer who de- lighted all the fans in the country who saw him in "Lucille Love." Francis
Just
"THE BROKEN COIN"
Bit was staged under conditions and with facilities impossible to any concern e CaUSe but the Universal, at Universal City, Cal. That's the "BECAUSE" of the
Wise Exhibitors
: s the wonderful booking success of this world's greatest serial.
who read the Universal Weekly and the trade press know a good thing when they see it; and so they have been keeping the mails jammed and the wires hot sending in to their Exchange and to the Home Office their orders for bookings.
ii
THE BROKEN COIN"
Just B
you want to make a killing now. Just because you want to hook up with 6 CaUSe a sure thing. Just because here is an opportunity to capture coin and popu- larity for your house, and give competition a black eye; just because there
has been prepared for you the strongest advertising and publicity campaign ever prepared for your benefit —
" You, Mr. Exhibitor "
Do this NOW. Wire, write or phone your Exchange this instant for your booking date, or communicate at once with the home office.
Universal Film Manufacturing Co.
1600 Broadway
CARL LAEMMLE, President "The Largest Film Manufacturing Concern in the Universe"
New York
July 3, 1915
THE MOVING PICTURE WORLD
i ft.
The Old High
Chair
A poetical drama of deep heart interest, featuring Gladys Brock- well and YV. E. Lawrence.
GLADYS BROCKWELL
MAJESTIC AND KOMIC GUIDE FOR EXHIBITORS
(In which we try to tell only the truth about all Majestic and Komic releases)
In this story the relations; of the males and iciety .ire reversed.
THE ASH CAN (1 Reel Majestic). Release date Tuesday, June 22. A child comedy by the Majestic juvenile company. Little Dick the detective and his friends receive a bad scare when the captive heroine disappears from the ash can.
THE MOTOR BOAT BANDITS (1 Reel Majestic). Re- lease date Friday, June 25. Irene Hunt as the girl reporter aids the detective in running down a band of motor boat crooks.
CHILDREN OF THE SEA (2 Reel Majestic). Release date Sunday, June 27. Charles Clary and Francelia Billington in an unusual heart interest story. The fisher girl is saved from following the downward steps of her mother.
BEAUTIFUL LOVE (I Reel Komic). Release date Sun- day, June 27. A farce comedy with a new idea, featuring Fay Tincher, Elmer Booth, and the entire company of Komic
comedians, females of
THE KID MAGICIANS (1 Reel Majestic). Release date Tuesday, June 29. One of the best of the series by the Majestic juvenile company, showing how the little children tried to imitate the magicians, and the sad results.
THE OLD HIGH CHAIR (2 Reel Majestic). Release date Sunday, July 4. An unusual heart interest, poetic drama, with Gladys Brockwell and W. E. Lawrence. The mother of three boys recalls her past as she-gazes at the little old high chair in the garret.
MR. WALLACK'S WALLET (1 Reel Komic). Release date Sunday, July 4, A very interesting farce comedy in which Fay Tincher appears as a female tramp and wins the reward fur the recovery of Mr. Wallack's Wallet.
LOBBY DISPLAY
New poses of Majestic and Komic players in sizes up to 5 feet high. Trices and particulars on request.
Studios: 4500 Sunset Blvd. Los Angeles, Cal.
Business Office: 71 West 23rd St. New York, N. Y.
TheMajesticMotionPictureCo. \
PRESENTS FOR ITS TWO-PART FEATURE
SUNDAY, JU LY 4
MAJESTIC MOTION PICTURE COMPANY ■
10
THE MOVING PICTURE WORLD
July 3, 1915
36 ^ ,,/ FAMOUS Y«
XI FEATURES '■)'/)
ADOLPH ZUKOR, President
DANIEL FROHMAN, ManaoMnd Director
EDWIN *S " PORTE R. Treasurer and General Manager
Canadian Distributors — Famous Player*
July 3, 1915
THE MOVING PICTURE WORLD
11
Executive Offices
213-229 West 26^St. New York
Film Service, Ltd., Calgary— Montreal— Toronto
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.if FAMOUS \ v \[ FEATURES M A AYEAR '"'
12
THE MOVING PICTURE WORLD
July 3, 1915
KILLED IN ACTION
might easily be applied to hundreds of exhibitors throughout the United States to- day, only "inaction" would be the word. The reason so many exhibitors are not getting bigger returns is that they are not getting the pick of the programs.
is making greater strides forward than any other company. Get in line and watch the results at vour box office.
"THE LITTLE PROSPECTOR"
A western drama featuring: G. M. AN- llKKSOX. Released July 2.
"A BOOMERANG OF BLOOD"
A felon's deed for revenge falls on his own head. Released Tulv 5.
|
"THE |
RAJAH'S TUNIC" |
|||
|
One Adv Tulv |
By of the sntures 6. |
(In 2 acts) lenry C. Row famous plays of Dominica. |
and. from ' Rel |
"The eased |
"DREAMY DUD"
"In King Koo Koo's Kingdom." Living cartoons by Wal'ace A. Carlson. Dud prefers being boiled for dinner to taking a wife. Released July 7.
"EDUCATION"
A photocomedy of college life, featur- ing Wallace Beerv. Released July 8.
"THE COUNTER INTRIGUE"
(In 3 acts)
The great prize mystery play produced in conjunction with The Ladies' World. Released July 10.
Trademark Reg. U. Pat. 1907
G. M. ANDERSON
and Marguerite Clayton
are making a wonderful success in the new series of Western Dramas. Book Now
Released through the General Film Company
Special 6 sheet muslin Chaplin posters $1,75 1
Life size Chaplin cut-outs for lobby stands 1.50 > Essanay Publicity Department.
25-foot strips of Essanay stars 1.50 )
A 50-foot scene strip of "Graustark," "The Slim Princess," or "The White Sister," is the best way to advertise these photoplays in your theatre. Price $2.50. Essanay Publicity Dept., or at the V. L. S. E. branch offices.
ESSANAY
1333 ARGYLE STRXE/T, CHICAGO, ILL.
§*■
Trademark Reg. U. S. Pat. 1907
July 3, 1915 THE MOVING PICTURE WORLD 13
Miss Viola Allen in "The White Sister" Sweeps The Public Off Its Feet
Have you seen Viola Allen in "The White Sister?" This is what every one now is asking of his neighbor.
When a play makes such a success that it is the first topic of conversation that enters the mind when two friends meet, j i iu may know it has some genuine attraction, that it is irresistible.
Every once in a long time there is a play that not only succeeds in the ordinary way, but has some great fundamental human element in it that sweeps the public off its feet.
That is what "The White Sister," Essanay's six act photo- play, written by E. Marion Crawford, has done. It is the talk of the hour. Critics who saw the play before its release predicted a wonderful run. It has surpassed all expectations. It is the rage ; it is the fad of the day.
You know what that means in drawing crowds ; von know what it means in swelling your box office receipts.
Have you booked "Graustark," the great six act feature photoplay by George Barr McCutcheon? Have you booked "The Slim Princess," the four act photocomedy by George Ade? If you have not you have something good in store. Thousands of exhibitors have attested the wonderful drawing- power of these plays.
Book them at once through any of the branch offices of the V. L. S. E., Inc., if you would get plays that are sure to please your patrons.
14
THE MOVING PICTURE WORLD
July 3, 1915
Eaaanay Studio, June 21.
MY DEAR MR. EXHIBITOR AND THE PHOTOPLAY PUBLIC:
I wish to thank you for your many kind inquiries about my health. I am willing to stake my word of honor that I am alive. My moustaohe still has that funny little quirk and my feet twinkle when I walk.
I have been unable to convince any insurance company that I have been ill, injured, killed or otherwise incapaci- tated. Some people have been unkind enough to say that I am crazy. All are entitled to their own opinions, but I would say in defense that they don't know me.
I certainly am still on the job. If you don't believe it, watch me "flQRK." I will show you everything you ought to know about interior decorating. If I don't make you laugh I will admit that I am a dead one, but not until then.
jYours in fun,
CHARLES CHAPLIN.
ESSANAY-CHAPLIN COMEDIES
are now being released every three weeks through the General Film Co. The first one of this new series is
"\A/ORK"
In 2 Acts. Released June 21 Be sure you book the Essanay-Chaplin brand. None others are genuine
July 3, 1915
THE MOVING PICTURE WORLD
15
Henry B. Walthall Greatest Photoplay Actor, Joins Essanay
CHICAGO, ILL., June 26. — Henry B. Walthall, the w o r 1 d 's greatest photoplay actor, has joined the Essanay company and is now working- on a great three act emotional drama, "The Fatal Temper."
It was in line with the policy of George K. Spoor, President of Essanay, to ob- tain the very best actors in the world, that Mr. Walthall was engaged. For Mr. Walthall is just that, a real actor, a man of wide experi- ence both on the speaking stage and in photoplay work.
As the leading character in plays produced by other companies Mr. Walthall was distinctly the fea- ture of the dramas. He has ad- vanced steadily in artistic accom- plishments and popular favor un- til at the present time he stands at the head of his profession.
HENRY B. WALTHALL
Mr. Walthall is a master of subtle expression and in dramas requiring a display of emotional feeling has no equal. He will ap- pear both in features released through the V. L. S. E., Inc., and the General Film Co.
16
THE MOVING PICTURE WORLD
PARAMOUNT
July 3, 1915
Jesse L.Lasky
PRE5EMT5
IflSTOR MOORE
H
120 VVE1ST «*H st STREET
JESSE L.LASKY Pres. SAMUEL GOLDFISH
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lulv 3, 1915
THE MOVING PICTURE WOkl.D
17
PROGRAM
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, iu. hk jiw m. ii»jih «u ;.. a. m.^a.JiK m« hhii jii.ii,. ;i, m. in.
J ESSE L. LASKY
INTRODUCED
UlCTOR MOORE
TO THE PHOTOPLAY PUBLIC IN 5 THE PICTURIZATION OF
SNOBS
ESTABLISHING A NEW ERA IN
PHOTO-COMEDY
CfiimmteFadden
15 A 5TILL GREATER ADVANCE AND
VICTOR MOORE
SURPASSED HIS FIRST ACHIEVEMENT
RELEASED THROUGH
PARAMOUNT PICTURES CORPN
JUNE 28th
CANADIAN DISTRIBUTORS, FAMOUS PLAYERS FILM SERVICE ltd.
MONTREAL , TORONTO, CALGARY.
sjorofuaroa
INELW YORK CITY Treas. and Gen.Mgr. CECIL B.DE MILLE Dir.Gen.
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18
THE MOVING PICTURE WORLD
July 3, 1915
&
KNIOiERBtfCKER STAR FEATURES
PRESENT
v>
AND GERTRUDE ELLIOTT
IN
R£L£AS£& JULY 7T-H
REGULAR PROGRAM
SUPPORTED BY THE ENTIRE
a DRURY bflNE COMPANY
THIS FAMOUS ACTOR, KNIGHTED BY THE KING OF ENGLAND, NEEDS NO INTRODUCTION. HE HAS JUST FINISHED HIS FAREWELL TOUR OF THE UNITED STATES AND THIS PICTURE ALONE REMAINS TO PLEASE HIS MANY FOLLOW- ERS. YOU CANNOT GO WRONG. BOOK NOW FROM YOUR LICENSED EXCHANGE.
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— — - . .— .,— _ ___— . — — . — — — ; ; - —
July 3, 1915
THE BEAUTIFUL
THE MOVING PICTURE WORLD
19
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^CoV,
DAUGHTER OF WM. A. BRADY
SUPPORTED BY <5E0. M.H9WARD
DIRECT FRtfM HER BR9ADWAY SUCCESSES IN THE
SILBERTLSULUVAN OPERAS
WITH
UE VWLF HIPPER
WILL BE SEEN IN
THE CUP 9F CHANCE
RELEASED* JULY 21 ^
DO INOT FORGET
7^^
"THE KICK-flUT"
REL6A5ED J U M £ 23*P
WITH
PflEir
SUPPORTED BY
GEO. M.HOWARD 5, MAC BARNES
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^35
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ORK
20
THE MOVING PICTURE WORLD July 3, 1915
il^il&^ltMMB.lM.il Sk 9k $& SUES
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^paramoiuiT
EXHIBITORS !
Do you know
That we depend upon your reports on each and every Release?
That these reports are of the utmost importance to the Paramount Producers, to yourselves and to us?
That we must have these reports promptly to enable us to attain our highest efficiency?
That the exhibitors' reports assist the producers in deciding upon the subjects of their pictures?
That these reports aid us in securing valuable con- tracts?
Your exchange sends criticism blanks with each in- voice, and it is your duty to fill them out and return promptly to your exchange.
If you have not yet sent in reports upon all of the re- leases you have played please do so today.
6 ^Paramount ^icture^l&poratiQiu *
V— * ONE HUMMED *nJ TEN K^/ WEST FOCTTfcTH ^_, * STREET *1
ONE HUND8ED uivf TEN <S WEST FORTIETH V*_^ STREET
NEW YORK.N.Y.
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July 3, 1915 THE MOVING PICTURE WORLD 21
YOU CANT BEAT
IT
22
THE MOVING PICTURE WORLD
July 3, 1915
fWofrturiot!
Featured in the $800,000.00 "Flying A" Photoplay
A Picturized Romantic Novel By Hoy L. McCardell
The phenomenal success achieved by Charlotte Burton in "The Diamond From The Sky," the masterful picture-story of adventure and romance produced by American Film Mfg. Co., is attrib' utable entirely to this lovable girl's earnest effort and her highly developed dramatic ability. Critics the country over are enthusiastic in their praise of Miss Burton's portrayal of Vivian Marston the unscrupulous woman of adventure. Charlotte Burton, together with such world fa- mous stars as Lottie Pickford, Irving Cummings, Eugenie Forde, William Kussell, George Periolat, W. ). Tedmarsh, Orral Humphrey and a host of others, make up a cast which never has been equalled in the motion picture world.
Each week a two act chapter of "The Diamond From The Sky" is released. Nine chapters are now appearing. Picture fans are eager for every chapter. You exhibitors who have not yet booked "The Diamond From The Sky" must act at once if you want a sure fire crowd-getter for the hot summer months — for that's what "The Diamond From The Sky" is, a sure and constant patronage producer.
Forjbooking information write, wire or see at once the North American Film Corporation repre- sentative at your nearest Mutual Exchange, or write or wire us.
North American Film Corporation
JOHN R. FREULER. President
Executive Offices: 222 So. State St., Chicago, Illinois
North American Representatives at every Mutual Exchange in America
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July 3, 1915
THE MOVING PICTURE WORLD
23
.
American Film Manufacturing Co. Releases
Qh®m
A Two-Part "Flying A" Drama
%*s^5^jr Directed by Reaves Eason
Release Date—July 5 th
How a romance of the mountains wipes out a life-long feud. A pretty story — tender and vigorous action — scenes of wonderful mountain grandeur.
Vivian Rich and Joseph Galbraith
— with a supporting cast of stars.
The Guy Upstairs
An American "Beauty" Film Directed by Archer MacMackin
Release Date—July 6th
A humorous interweaving of love and pugilism. Dan Cupid deals a knockout punch and all ends happily. Neva Gerber and Webster Campbell — the famous "Beauty" stars.
The High Cost of Flirting
A One-Part "Flying A" Drama
Directed by William Bertram Release Date— July 7th Featuring winsome Winifred Greenwood and the dashing, handsome Edward Coxen.
Book American Film Productions They Assure Box Office Results
Distributed throughout the United States exclusively by Mutual Film Corporation
American Film Mfg. Co.
Chicago, 111.
24
THE MOVING PICTURE WORLD
July 3, 1915
July 3, 1915
THE MOVING PICTURE WORLD
25
OFFICES NEW YORK
26
THE MOVING PICTURE WORLD
July 3, 1915
HOME OFFICE a30Werl462\ft
'mms. j .MmwcR
Wm.A.BPADY picture plays
PRESENT
£n/
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W^ABRADY
PICTURE PLAYS"""
FROHMAN
AMUSEMENT CO-
CHM.HARRIS
FEATURE?
BURM'INTOSH
HIM CORPORATION
" 'M
ROBERT MANTEL GREAT STA6E SUCCESS
ROBERT WARWICK APPEARS IN A DUAL ROLF
A
July 3, 1915
THE MOVING PICTURE WORLD
27
/fcow BRYANT 4020 BRANCHES EVERYWHERE
28
THE MOVING PICTURE WORLD
July 3, 1915
Made by Irish Players in Ireland
Under the Direction of Sidney Olcott
An "Irish Day" with these popular 3-reel photoplays wil make big money for you. Arrange with the Irish so- cieties in your neighborhood to attend in a body.
These great pictures were made by Sidney Olcott for The Lubin Mfg. Co. amid the hills and dales of the beau- teous west coast of Ireland and were completed under great difficulties after the outbreak of the present war.
"All For Old Ireland" (3 Reels)
or the Days of '98.
Released Wednesday, Jul}- 14
"Irish in America" (3 Reels)
Release date announced later
"Robert Emmett" (3 Reels)
An incident in the life of the great patriot
Release date announced later
Released through the General Film Company
July 3, 1915
THE MOVING PICTURE WORLD
29
A Great Serial, "ROAD O' STRIFE" By Emmett Campbell Hall. 15 Parts
»>~'y Monday, June 28th
ROAD O* STRIFE NO. 13
"The Man Who Did Not Die"
One Reel Drama
Bewildering events follow one another rapidly in this chapter of the thrilling and mysterious Lubin series. Gershom suddenly returns to life, regains the famous silver cup, and not only announces that the fortune sup- posed to be Caleb Jerome's belongs to Alene, but aston- ishes everyone by telling the weary and indifferent girl, who has just been discharged from jail, that she is Her Royal Highness, the Princess Alene, rightful heiress to her father's crown and the throne of Urania.
Crane Wilbur and Mary Charleson featured
Tuesday, June Z9th
"Her Choice"
One Reel Comedy
In this amusing release the action centers about a girl ■who has three ardent admirers. Betty wants to marry a regular American, but her father favors a count and her mother a lord. Betty succeeds by hoodwinking her parents and playing a hoax on the two titled suitors.
In the cast are Mae Hotely, Ed Lawrence, Frances Ne Moyer, Raymond McKee, Jerold Hevener and Ben Walker.
Thursday, July 1st
"By the Flip of a Coin"
Two Reel Drama
A tense and strong play of army life in India in which two officers love the same woman. One of them, through duplicity, marries her and later this is discovered. The two officers agree to flip a coin— the one who throws heads to kill himself. Again the husband stoops to crooked work and when this, too, is discovered, the inevitable happens.
L. C. Shumway and Velma Whitman featured
IP
'. - V ' '
Wednesday, June 30th
Three Reel Feature
"The Path to the Rainbow"
A splendidly written, splendidly acted 'comedy drama, in which a young but old-fashioned banker plans to wed his ward and then achieves happiness by unselfishly giving her to the man she wants to marry. In the cast are Ormi Hawley, Arthur Matthews, Earl Metcalfe, Herbert Fortier, William H. Turner, Peter Lang and George Bliss.
Friday, July 2d
"Her Mother's Secret"
One Reel Drama
A charming story of a wealthy man who returns after a twenty years' absence to his home town and tails in love with the daughter of the woman who jilted him manv years before. When the daughter discovers he is her 'mother's old sweetheart she plays a little trick which brings happiness to all concerned.
Saturday July 3d Another Billie Reeves Comedy
"A Day on the Force"
One Reel
After envying with all his heart the life of a police- man Bill temporarily becomes one by appropriating the hat and coat of a sleeping officer and then his adven- tures begin, but not at all along the lines that he had imagined or planned. This reel is an unusually tunny one and Reeves has a splendid opportunity to display his ability as an acrobatic comedian and pantommust.
iftlfTO
mm
JBIK
I
SH
MULTIPLE REEL MASTERPIECES READY AND ABOUT TO BE RELEASED
"THE SPORTING DUCHESS" With Rose Coghlan and Ethel Clayton
Supported by GEORGE SOULE SPENCER Comedy Drama by Cecil Raleigh Direction BARRY O'NEIL
"THE VALLEY OF LOST HOPE"
A Powerful Drama by SHANNON FIFE
Featuring Romaine Fielding
Direction ROMAINE FIELDING
"THE DISTRICT ATTORNEY" With George Soule Spencer and Dorothy Bernard
Drama by CHARLES KLEIN and HARRISON GREY F1SKE Direction BARRY O'NEIL
"THE EVANGELIST" With GLADYS HANSON, Supported by George Soule Spencer
Powerful Drama by SIR HENRY ARTHUR JONES Direction BARRY O'NEIL
"THE CLIMBERS"
Drama by CLYDE FITCH
With GLADYS HANSON, Supported by George Soule Spencer
Direction BARRY O'NEIL
"THE GREAT RUBY"
Drama by CECIL RALEIGH
With Beatrice Morgan, Octavia Handworth and George Soule Spencer
Direction BARRY O'NEIL.
NOW SHOWING TO CROWDED HOUSES EVERYWHERE "EAGLE'S NEST" With Edwin Arden and Romaine Fielding
Mr. Arden's Successful Drama
Direction ROMAINE FIELDING
"THE COLLEGE WIDOW" Featuring Ethel Clayton and George Soule Spencer
Comedy by GEORGE APE
Direction BARRY O'NEIL
1-3-6-8 Sheet Posters by A. B. C. Co., Cleveland, Ohio. Dodgers by Hennegan & Co., Cincinnati, Ohio
CHICAGO OFFICE— 154 West Lake Street
4\!K35§3
30
THE MOVING PICTURE WORLD
July 3, 1915
BROADWAY FAVORITES FEATURES BROADWAY FAVORITES FEATURES BROADWAY FAVORITES BROADWAY FAVORITES FEATURES BROADWAY FAVORITES FEATURES BROADWAY FAVORITES
The Production which brings]
Said the "WORLD"
"// ever a picture was adapted to carry the glitter of Broadway into the dullness of a village evening, this is it! It is safe to as- sume that such an assortment of beauty has never in the past been offered in any picture."
Baroness
Irmgard
von
Rottenthal
A "BROADWAY
MIDNIGHT A
The Spectacular Four=
Maxim's, Rector's and Bustanoby's — New York City's most famous cabarets, are depicted in all their glit- tering gorgeousness in this great novelty. "Midnight at Maxim's" brings the "Gay White Way" right into your theatre and shows your patrons the features which have made Broadway a household name in every village and hamlet in the country !
Released in Regular Service SPECIAL PIANO MUSIC 50c. COMPLETE
KALEM COMPANY "^^o^c^r1 NEW YORK
BROADWAY FAVORITES FEATURES BROADWAY FAVORITES FEATURES BROADWAY FAVORITES BROADWAY FAVORITES FEATURES BROADWAY FAVORITES FEATURES BROADWAY FAVORITES
July 3, 1915
THE MOVING PICTURE WORLD
31
BROADWAY FAVORITES FEATURES BROADWAY FAVORITES FEATURES BROADWAY FAVORITES BROADWAY FAVORITES FEATURES BROADWAY FAVORITES FEATURES BROADWAY FAVORITES
Broadway into your Theatre
Said the "NEWS"
"Girls, girls, nothing but girls! Girls are surely the main feature of this production. Most persons, especially' suburbanites, ivill want to visit Maxim's after seeing this picture!"
Leo Pirrvkoff and Ethel Rose
3e^ or e
FAVORITES" Feature
T MAXIM'S
Act Cabaret Show
There's a veritable money mine within the reach of every exhibitor who books this feature and thus capitalizes the publicity accorded the New York cabarets by the newspapers of the nation. The Maxim, Bustanoby and Rector beauties, together with such vaudeville artists as Baroness Irmgard von Rottenthal, Leo Pirnikoff and Ethel Rose, The Cameron Girls and Bert Weston and Dorothy Ozuman, will create a tremendous sensation in your theatre !
Monday, July 12th
Striking I, 3 and 6-Sheet 4-color Lithographs
KALEM COMPANY 23M^A3r^r NEW YORK
BROADWAY FAVORITES FEATURES BROADWAY FAVORITES FEATURES BROADWAY FAVORITES BROADWAY FAVORITES FEATURES BROADWAY FAVORITES FEATURES BROADWAY FAVORITES
32
THE MOVING PICTURE WORLD
July 3, 1915
CAj\xomat>(
CLCdrtotu* is producing
4 Reel Features
Befitting the Man Who Gave
Motion Pictures to the World —
On the Regular Program
The Incomparable
Marc MacDermott
and
Mabel Trunnelle
in the
4-ACT FEATURE OF POWER
"Eugene Aram
9>
Seldom is it that a storv is found big enough to comprehend all the versatile breadth oi Marc Mac- Dermott's living art, but "Eugene Aram," story of stories, vibrant with pathos, glorious endeavor, tender love, and ignominious death for the guilt of another, rings with the power of Marc Mac- Dermott's portrayals, the heart-reaching insight of a master story teller of an age that is gone— Bulwer Lytton— and heightened, beautified and intensified with the skill of Director Richard Ridgley. The ever-appealing Mabel Trunnelle, the deft Edward Earle, the convincing Bigelow Cooper, win- some Gladys Hulette, Herbert Prior and George Wright, to round out and give added power to this tragic life story. Released Friday, July 9th.
Margaret Prussing and George Wright in a wonderful one- A Bunch of comedians in "It May Be You." One-act.
act drama, "The Brand of Cain." Direction by the author, Eugene Nowland. Saturday, July 10th.
Direction, Will Louis. Wednesday, July 7th.
General Film Company's ^±'
July 3, 1915
THE MOVING PICTURE WORLD
Jfi' -
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i
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k
•4
ALBANY, N. Y, 737 Broadway
ATLANTA, GA. Rhodes Bldg.
BALTIMORE, MD. 36 Eulaw St.
BANGOR, ME. 123 Fraflklin SI.
BOSTON, MASS. 218 Commercial St.
BUFFALO, N. Y. 122 Pearl St.
BUTTE, MONT. 50 E. Broadway
CHICAGO, ILL.
429 S. Wabash Ave.
CHICA60, ILL. 19 S.Wabash Ave.
CHICAGO, ILL. 139 N.Clark St.
CINCINNATI, 0. 514 Elm St.
CLEVELAND, 0.
1022 Superior Ave. N. E.
COLUMBUS, 0. 26 W. Naghlen St.
WHEELIN6, 1141 E
DALLAS, TEX. 2017 Commerce St.
DENVER, COL. 1448 Champa St.
DETROIT, MICH. 71 GriswoW St.
INDIANAPOLIS, 1ND. 24 W. Washington St.
KANSAS CITY, MO. 921 Walnut St. .
LOS ANGELES, CAL. 727 S. Main St.
MEMPHIS, TENN. 302 Mulberry St.
MILWAUKEE, WIS. 220 W. Water St.
NEW ORLEANS, LA, 840 Union St.
NEW YORK, N. Y. 440 Fourth Ave.
NEW YORK, N. Y. 71 W. 23rd St.
NEW YORK, N. Y.
260 W. 42nd St.
MINNEAPOLIS, MINN. 909 Hennepin Ave.
OMAHA, NEB. 208 S. 13th St.
PHILADELPHIA PA. 1308 Vine St.
PITTSBURGH, PA. 436 FOURTH AVE.
PITTSBURGH, PA. 1 19 Fourth Ave.
OKLAHOMA CITY, OKLA. 211 W. 2nd St.
PORTLAND, OREGON 303 Oak St.
ROCHESTER, N. Y. 501 CENTRAL BLD6.
ST. LOUIS, MO. 3610 Olive St.
SALT LAKE CITY, UTAH 260 Floral Ave.
SEATTLE, WASH. 819 3rd Ave.
SYRACUSE, N. Y. 350 So. Selina St.
SAN FRANCISCO, CAL. 138 Eddy St.
WASHINGTON, D. C, 7th & E. Sts., N. W.
W. VA. Side Chapline St.
WILKES-BARRE, PA. 47 S. Pennsylvania Ave.
1.1 n mi n~
n n 'm — ri *» >t ti -n — n
-IN-
FAMOUS AMERICAN
GENERALS SERIES NO. ^r. -
;*
:
S
34
THE MOVING PICTURE WORLD
July 3, 1915
BEAUTY
HATRED
REVENGE
A CONTINUED PHOTOPLA> IN CHAPTERS
BOOK
THROUGH
THE
GENERAL FILM
CO.
EXECUTIVE OFFICES
EAST I5T-H ST . & LOCUST AVE., BROOKLYN , N . Y. NEW YORK CHICAGO LONDON PARIS
July 3, 1915
THE MOVING PICTURE WORLD
35
I
IMP—
"Mr. Jarr and the Captive Maiden"
Comedy MONDAY, JUNE 28
Another riot of fun— when the maiden is tossed from the roof. Jarr comes in for the brunt of it, Gus refuses to help him, but the women come to his rescue. HARRY DAVENPORT and ROSE TAPLEY are the leads.
"The Hand of God"
Two-Part Drama TUESDAY, JUNE 29
The man's good deeds are misinterpreted. Divine inter- vention reveals the truth. His goodness is magnified in her eyes. CHARLES WELLESLEY, NAOMI CHILDERS, BETTY GRAY, BOBBY CONNELLY and GEORGE STEV- ENS are the cast.
"The Evolution of Cutey"
Comedy WEDNESDAY, JUNE 30
He is suddenly transformed from childhood to manhood. He gives his aspiring "Ma" her choice between Bones and Lizzie. The latter wins. WALLY VAN as Cutey.
"The Honeymoon Pact"
Ccmedy THURSDAY, JULY 1
It's a strange agreement between a young husband and wife. They play a joke on each other and find out they are no different from other young people. LILLIAN WALKER and EVART OVERTON are the principals.
"Hunting a Husband"
Comedy FRIDAY, JULY 2
Love is blind and Jud's is an exaggerated case of obscure vision. In hunting a husband for the girl, he himself is the lucky fellow. ALFRED VOSBURGH, JANE NOVAK and JACK MOWER are the principals.
"The Criminal"
Three-Part Drama. Broadway Star Feature
SATURDAY, JULY 3
A young girl is caught fast in the net of circumstantial evidence. The District Attorney finds he is prosecuting his own daughter, tells her and her confession saves them both Presenting MAURICE COSTELLO, NORMA TALMADGE, VAX DYKE BROOKE, THOMAS R. MILLS and ESTELLE MARDO.
Six a Week, Including a Three-Part Broadway Star Feature
"THE REVOLT OF MR. WIGGS" Comedy Monday, July S
"THE MAN FROM THE DESERT" Three-Part Western Drama- Broadway Star Feature
Tuesday, July 6
'THE WHITE AND BLACK SNOWBALL" Juvenile Come<ry Wednesday, July 7
"BERTIE'S STRATAGEM" Comedy Thursday, July 8
"LOVE'S WAY" Comedy-Drama Friday, July 9
"INSURING CUTEY" Two-Part Comedy Saturday, July 10
VITAGRAPH ONE, THREE AND SIX-SHEET POSTERS.
They Keep On Doing It
West Orange, N. J., June 10, 1915. The Vitagraph Co.:
I have seen a good many Vitagraph pictures and I like them best of all. . I asked the manager of our movie house to show Vita- graph Blue Ribbon Features, which he did. Lately we have had "The Juggernaut." It was some picture. We had it shown by request twice, it was so good. Then I told him to book "The Goddess," your serial, and it is shown every Friday night with a packed house. We are going to have another one of your master- pieces again. We get more Vitagraph pictures than any other pictures.
Wishing you success, I remain,
CHAS. BEHAN, 317 Valley Road, West Orange, N.
36
THE MOVING PICTURE WORLD
July 3, 1915
MIDNIGHT AT MAXIM'S
The Spectacular Four-Act Cabaret Show A "BROADWAY FAVORITES" FEATURE
This great feature brings Broadway and its "Gay of Maxim's, Rector's and Bustanoby's has reach person who has heard of these famous cabarets this novelty, we combined the cabarets of Maxim features four of vaudeville's most prominent hea Maxim's," at a private presentation, declared it NOW! Released in Regular Service, Monday, July 12th.
A "HAM" COMEDY
White Way" right into your theatre. The fame ed every village and town in the country. Every
is anxious and eager to see them. In producing
s, Bustanoby's and Rector's and added to these dhners. Exhibitors who viewed "Midnight at
would sweep the country like wildfire. Book it
Special 1, 3 and 6-sheet, 4-color Lithographs.
A FLASHLIGHT FLIVVER FOR H^ ^OTHER'S SAKE
An actress, clad in tights, who comes to have her picture taken, causes a feud between Ham and Bud. It ends with the destruction of the photographer's studio. A sure-fire laugh bringer.
Released Tuesday, July 13th. 1 and 3-sheet, 4-color Lithographs for all "HAM" Comedies
THE STRAIGHT AND NARROW PATH
A Powerful Two-Act Modern Drama
Rather than desert the straight and narrow path for a life of ease and luxury, the shopgirl choses a suicide*s end. Her life is saved in the nick of time. Here is a story containing a powerful moral.
Released "Wednesday, July 14th. 1, 3 and 6-sheet, 4-color Lithographs.
A Blackwell-Joyce Re-Issue This story which tells of a sister's devotion to her weak- charactered brother, will repeat the success it scored a few roles3 ag°' CarlyIe B'a^well and Alice Joyce in the leading
Relesed Friday, July 16th. Striking 1 and 3-sheet, 4-color Lithographs.
A DEED OF DARING
An Episode of the
Hazards of Helen Railroad Series
Leaping upward from the roof of the freight car, Helen catches hold of the bridge brace, swings hand over hand to the next track and drops upon the roof of the stolen train. Released Saturday, July 17th. Strong 1 and 3-sheet 4-color Lithographs.
Kalem Company
235=239 West 23rd Street
New YorK City, N. Y.
July 3, 1915
THE MOVING PICTURE WORLD
37
THBFILM INDEX
.EXHIBITORS'
GUIDE
J. P. Chalmers, Founder. Published Weekly by the
CHALMERS PUBLISHING COMPANY
17 MADISON AVENUE, NEW YORK CITY. (Telephone, 3510 Madison Square)
J. P. Chalmers, Sr President
J. F. Chalmers Vice-President
E. J. Chalmers Secretary and Treasurer
John Wylie General Manager
The office of the company is the address of the officers.
Chicago Office— Suite 917-919 Schiller Building, 64 West Ran- dolph St., Chicago, 111. Telephone, Central 5099.
Pacific Coast Office — Haas Building, Seventh St. and Broad- way, Los Angeles, Cal. Telephone, Broadway 4649.
SUBSCRIPTION RATES.
United States, Mexico, Hawaii, Porto Rico and
Philippine Islands $3.00 per year
Canada 3.50 per year
Foreign Countries (Postpaid) 4.00 per year
All changes of address should give both old and new addresses
in full and clearly written, and require two weeks.
ADVERTISING RATES.
Classified Advertising — no display — three cents per word ; mini- mum charge, 50c. Display Advertising Rates made known on application.
Note — Address all correspondence, remittances and subscrip- tions to Moving Picture World, P. O. Box 226, Madison Square Station, New York, and not to individuals.
|
(The |
Index for this issue will be found on |
page 14S.) |
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Entered at the General Post Office |
New York City, as S |
econd Class Matter |
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Saturday, |
July 3, 1915 |
Facts and Comments
BILLY B. VAN, about to break into the production of motion pictures, sends a glowing eulogy of New Hampshire scenery to a New Hampshire newspaper and scores with a column. No state like the Granite State for motion picture production, etc. The logical conclusion is obvious and is respectfully re- ferred to the publicity agents. * * *
TWO exhibitors have the same raw materials for a program. One looks at the descriptions and hands the films over to the operator. The other insists on a screen examination and does a little judi- cious "pruning" and "trimming." The programs are then thrown upon the screen for the public and they look different, though the original items were just the same. A couple of hours and a willingness to think has
made the difference. In a film weekly shown at one theater about forty feet of corpses on the battlefield were eliminated by the painstaking exhibitor, while at the other theater they were left in. The gruesome sight spoiled the greater part of the show. Watch your details if you want to prosper and attract the audience which knows how to discriminate.
* * *
AN ESTEEMED friend and correspondent sug- gests that exhibitors poll their patrons on ques- tions of taste and ethics. He thinks that a con- sensus of opinion might be obtained "by some such method as delivering with the ticket a perforated strip marked in each square 1, 2, 3, 4, etc., up to the number of reels shown and announcing the number of each reel as it appears on the screen." The pleasing num- bers to be kept and handed to the ushers, the others to be dropped on the floor. "Several exhibitors might band together," concludes our friend, "and compare notes to 'mutual advantage." The experiment seems worth trying.
WE HEAR through the courtesy of a friendly reader of itinerant "premium men" and "coun- try store promotors" who are just now infest- ing some of the bigger cities on the Pacific coast. These "contest-organizers" and "prize-givers," also called "slickers," prey upon the inexperienced ex- hibitor or the exhibitor in distress, for it is inconceiv- able that they will ever get any encouragement from the man who knows his business. Our friend sug- gests that the big producing companies take a hand by refusing service to men who listen to the "slickers." It looks as though the evil might be reached effect- ively just in this way. Exhibitors' organizations have sometimes succeeded in shaming their foolish brethren away from such cheapening and destructive schemes, and on other occasions an appeal to the district at- torney has borne fruit. These contests are generally plain violations of the law against lotteries.
* * *
THE press has begun to pay some attention to the idea of embodying the freedom of the screen in the organic law of this state by granting it the same immunity from previous legal restraint as that which is now enjoyed by the press. The constitutional convention is ready to give the motion picture inter- ests a hearing and The Moving Picture World, always in the forefront in matters that concern the vital in- terests of the industry, has taken the lead in this agita- tion. We cannot imagine-that the press will take any other than a friendly and approving stand toward the enfranchisement of the motion picture. We need the aid of the press in this fight and we are entitled to have it. Our interests are identical. If the public mind gets used to censoring motion pictures by law there will be but a short step to censoring motion pictures by official edict.
* * *
ON WHAT sort of motion pictures has the editor of a local newspaper in Wilkes-Barre been feed- ing that he has grown so peevish? He says the effect of drinking bad whiskey and seeing certain kinds of motion pictures is just about the same. After seeing that sort of pictures our editor concludes by saying, "That's why some folks say that the way to write 'scenarios' is to have a bad dream and see things that ain't so and write it down in bad English." All of which is respectfully referred to the chief of the scenario department. Looks as if the editor needed a copy of your book, E. W. S;
38
THE MOVING PICTURE WORLD
July 3, 1915
Judging the Show
By W. Stephen Bush.
A FRIEND of the writer, a man who has been in the exhibiting business a good many years, re- marked recently that he was more puzzled than ever about the show business in general and the motion picture end of it in particular.
We had been talking about the exhibitor's first duty (so-called), of detaching himself entirely from his own tastes and preferences and simply catering to the demands of the public. The subject is altogether too big to be discussed in all its important aspects in just a few paragraphs. One thing, however, is particularly mystifying and, as it is sure to interest the readers of this paper, I do not hesitate to mention it here. If a motion picture theatre is yielding the maximum of profit is it wise to make a change because the owner of the theater differs with the manager as to the kind of a show that ought to be offered to the patrons?
I am not speaking of a theoretical case. The thing has happened. The owners of a theater had no com- plaint whatever against the showing of the box office. No prejudice can stand in the presence of arithmetic. It is true that the owners firmly believed that the entertainment was conducted on too high a plane. According to the accepted principles of showmanship they should have been able to detach themselves en- tirely from their own tastes and preferences. It was according to the showman's creed rank heresy to go behind the returns of the box office
Supposing that a "low-brow" show was bringing in the money, would the "high-brow" views of the owner have been permitted to count? I am inclined to italicize the "No" of my answer or to put it in capitals. To the man with "high-brow" tendencies seeking to meddle with the solid profits of a "low- brow" show the chorus of experts would have sounded something like this : "Do not try to educate the pub- lic. Give them what they want. If the 'low-brow stuff' pleases them, don't you try to raise them to a higher standard. You are not in this business to educate the public but to make money." All this has a familiar ring. It may be right and may be wrong, but most showmen seem willing to accept this dostrine and abide by it.
Do they indeed always abide by it? It does seem as if it were quite difficult after all to detach one's self from one's own tastes, opinions and preferences. We know of producers whose personality for good or evil, for profit or loss, dominates the whole producing ma- chinery. We have yet to learn of a single producer whose personality does not in some way or another assert itself in his films. Is the same thing true of the exhibitor, whether he happens to be the owner or the manager? Does he not unconsciously or subcon- sciously run the show in accordance with his personal tastes? Is there such a thing at all as abdicating and obliterating one's own personality? Another ques- tion. To what extent is the exhibitor supposed to close his own eyes to the merits and de- merits of a film and to what extent is he realis- able to view it through the eyes of his audience?
We invite discussion among our readers on these vital questions. In the consideration and solution of these problems it is not safe to trust to luck. A few years ago luck mieht have been depended on. I re- member one exhibitor who commented upon his show in this candid fashion : "Yes. I know it's bad. but you see the crowd waiting for the second show, don't you?" This exhibitor is out of business todav
Drinking Scenes
By W. Stephen Bush.
AMONG our more or less esteemed contemporaries we count "The Liberal Advocate," a journal heroically devoted to promoting the liquor interests. We are sorry to note that the motion picture has incurred the candid displeasure of the John Barleycorn propa- ganda. We have, of course, known for some time that our friends the official censors have, in various parts of the country, objected to "drinking scenes." They object to "drinking scenes" because it might encourage the spectators to absorb alcoholic percentages. Now comes the devoted editor of the liquor gazette and he records an objection to the effect that such scenes on the screen "arouse the prejudice of thoughtless and weak-minded people against the liquor interests and particularly against the saloon."
We feel tempted to get out of this strange com- plication by referring the whole matter to Chief Cen- sor Breitinger. whose experience with the Bosworth picture, John Barleycorn, has added so much to the gayety of nations.
The subject, however, is too important for any but serious treatment. We quote further from the language of the liquor organ :
An editorial against the moving picture show from the Liberal Advocate, a liquor paper, is being given circulation in Wisconsin:
"The moving picture show has become a powerful factor in arousing the prejudice of thoughtless and weak-minded people against the liquor interests, and particularly against the saloon," it says.
"Each day thousands of these films are portrayed to mil- lions of men, women and children in every part of the coun- try, and those who know better and many who ought to know better, soon become imbued with the belief that liquor is only manufactured and saloons established for the pur- pose of increasing lawlessness and crime."
The answer to all these objections is easy. Among the thousands of films produced and published there may have been some which obtruded "drinking scenes." These were the exceptions. The fact is that the portrayal of drinking scenes forms an unavoidable incident in the portrayal of life. The motion picture as a means of social propaganda is one thing while the motion picture as a means of entertainment is quite another thing-. The screen is open to all advocates of abstinence and it is equally open to the opponents of it. exactly as the col- umns of the newspaper or the lecture platform. Where the screen is used as a mirror to be held up to life, whether past or present, it is impossible to entirely avoid the appearance of "drinking scenes." Not all drinking scenes are objectionable in themselves. There were drinking scenes at the wedding of Canaan where water is reported to have been changed into wine. In many portions of the far East the partaking of wine was considered an essential rite in the ceremony which welcomed the guest and the stranger. In certain parts of Europe the drinking of light beverages at social occasions is considered harmless. On the other hand. it is but too true that criminals often seek the courage for their crimes in drink, and it is no less true that alcohol has been and still is a fruitful source of poverty and that it is often destructive to the mind and the body of man.
Between the childish objections of the censor boards on the one hand and the protests of the liquor journals on the other hand, the screen will go on portraving life as it exists. It leaves the drawing of conclusions to the imagination and to the conscience of the spec- tators.
July 3, 1915
THE MOVING PICTURE WORLD
Fallacies of Realism
By Louis Reeves Harrison.
39
WORSE than ignorance is a false idea that takes possession of healthy human minds and perverts what might otherwise be good judgment. Such is the mistaken association of realism in drama and lite- rature with unvarnished truth — the application is more truly that of critics to varnished fiction. They seized upon a term which ordinarily defines a form of philosophy and applied it to what had the appearance of being an effort to exhibit literal reality in the arts, whereas the true artist appropriates the facts of life as so much rough material from which he constructs an existence more marvelous than that we daily look upon, better calcu- lated to arrest and hold attention when it delves into hidden secrets of the soul or offers ideals through which common human nature hopes to attain perfection. It is very doubtful whether any creative author merely de- scribes what he knows, or thinks he knows, about his own life or that of his neighbors, even if able to make it all less vulgar than reality. He depends largely upon his imagination. To critically ignore that fact is to at- tempt to solve the problem of creative art by denying its source.
It is quite possible that realism exemplifies what is said of persons and events of the day in which the author lives, that it is a short word for contemporaneous- ness combined with plausibility. What kind of realism is it when his story antedates his experience ? It is even dangerous to go back a generation in a search for truth. That supposed exponent of realism, Ibsen, causes Doc- tor Stockmann to say in "An Enemy of the People" that most truths cease to be such after twenty years' time. The great Norwegian poet held strongly to the idea that the rights of an individual were superior to those of society as composed of individuals. His bold theories were those of a revolutionary idealist asserted through mastery of his craft. His speculations were made intelligible through simplicity of method, but his people and events were as unreal as his convictions were vascillating. He was attempting to get at great truths through vigorous idealization.
Such is the case, within individual limitations, of thoughtful authors, whatever their medium of expres- sion, that of painting, that of sculpture, that of the printed or the uttered word, that of visualization on the screen. Whatever the art process, there is an idealiza- tion to stir thought or feeling, to make us conscious of our souls. Consistency is a jewel of this art structure and plausibility of its treatment. Harmonious agree- ment in all parts of the original creative work is of high importance, with an added management having a spe- cious appearance of truth that shall make it worthy of confidence, in many works of art, and these merits con- stitute an EFFECT, that of being in accord with the truth.
The story may be cunningly realistic or openly ro- mantic— to impose critical limitations on it in either respect narrows the field and dulls variety of presenta- tion. An author deeply interested in social problems may present scenes and characters as he thinks he sees them from a purely personal point of view or from that of an artist engaged in revealing what is unknown of them. He may follow the ordinary course of events from cause to effect or plunge into the effect and bring up his cause for reinforcement. He is in either case presenting images formed by recombining what he knows, the highest power of which his mind is capable. Whatever he tells, how-
(Copyright. Louis Reeves Harrison.)
ever he tells it, the story successful is a child of his imagination.
Imagination is working overtime when an intimate friend tells of some episode in his past life. He may use it to illumine a dull point, or to bring up experence in illogical support of a losing argument, or even to en- tertain himself at his listener's expense, but his vanity gets busy at a time when his conscience is looking out of the .window, and he rolls a large snowball of fiction around a handful of truth. Such is realism in the crude state. This realistic novelist in miniature, requiring only craftsmanship and an independent income to enter upon a professional struggle for poorly rewarded attainment and posthumous fame, is kept within a modicum of re- straint, that of his hearer's credulity. When he breaks loose in print, he may rise above the ordinary level of misrepresentation and acquires a splendid disdain of dry facts to the delight of his readers and to the benefit of literature in general.
It rarely occurs to critical readers that error is a product of reason. It grows out' of false interpretation. Many of the absurd notions, false conceptions and per- nicious practices that we deplore in human existence have been created by realists and naturalists who argued wrongly from a fundamental truth. Peculiar quality of the unfettered poet and of the fiction-maker who does not waste his time in acquiring a heavy burden of useful information is a gift of exaggeration that is often inspir- ing and even prophetic. The romancer writes fiction because he loves it, the realist as if he had a painful duty to perform. The man who loves his work is sincere. He is drawing from the exhaustless font of his sym- pathies and not attempting to deceive us by presenting dull facts under the illusions of fiction, yet he accurately pictured the submarine fifty years ago and set the whole world thinking with the purely romantic characters of Dr. Jekyl and Mr. Hyde.
While it is a difficult matter to properly represent truth through pretense and deception, stories realistic and naturalistic, those minutely portraying certain phases of life as seen through a temperament, may be accorded space on a varied program, especially when offering one or another form of social criticism, but realism may easily become monotonous and naturalism disgusting if un- tempered by contrast. Their sermonizing is rarely subtle enough to be successfully masked as entertainment, and their attractiveness at the fancy dress ball of imaginative fiction is akin to that of men who go in business suits. They look on with mingled wonder and disdain while Robinson Crusoe and Mother Goose share popularity with Rip Van Winkle, Cinderella, Count of Monte Christo, Robin Hood, Ivanhoe, Hamlet, Juliette, Othello, Beatrice and a long train of idealizations, strong or beau- tiful, quaint or sympathetic, the creatures of Romance.
To know truth one must feel it intuitively, as a ma- jority of intelligent people do who are disinterested spec- tators of a great wrong being done at this time, or it must be acquired through patient investigation of what science is accomplishing and a clear judgment that enables a writer to choose, not only the best means, but the best ends for his work. Whether it comes through intuition or through wisdom, truth will make itself felt, will find un- conscious recognition awaiting it among all classes of peo- ple. Whatever the form, throughout the wide sweep from farce to tragedy, the finest realism is that of a world idea which sways feeling through its complete rationality.
40
THE MOVING PICTURE WORLD
July 3, 1915
John R. Freuler.
Freuler President of Mutual
Edwin Thanhouser Is Elected Vice-President and Felix Kahn Treasurer at Meeting of Directors.
WITHOUT any opposition, John R. Freuler, president of the North American Film Company, became presi- dent and general manager of the Mutual Film Cor- poration at a meeting of the board of directors in the New York Mutual offices on June 23. The meeting, called at noon, lasted less than an hour, no alternatives to any of the candidates for office being presented. The new list of
officials reads: John R. Freuler, president and general manager; Ed- win Thanhouser, vice- president; Felix Kahn. treasurer, re-elected; Samuel Field, secre- tary and counsel; J. N. Naulty, assistant treasurer. The execu- tive committee com- prises Messrs. Freuler, Thanhouser, Kahn, Field and Crawford Livingston. H. E. Ait- ken, the retiring presi- dent of Mutual, de- clined re-election to the executive committee and Mr. Field was chosen to fill his place. The results of the election were not unex- pected after the meet- ing of Mutual stock- holders in Richmond, Va., on June 16, when J. W. Smith and Mr. Field were placed on the board to fill the places left vacant by the retirement of Roy Aitken and P. A. Gleichman. H. E. Aitken, A. C. Roebuck and T. H. Cochrane retained their places among the direc- tors, numbering fifteen in all.
When the meeting for the election of officers was called to order the full board, comprising the following members, responded: H. E. Aitken, Crawford Livingston, Gerald Liv- ingston, Felix Kahn, John R. Freuler, S. S. Hutchinson, W. E. Shallenberger, W. C. Toomey, A. C. Roebuck, T. H. Cochrane, .Edwin Thanhouser, Samuel Field, Dr. George Hall, J. W. Smith and Walter N. Seligsberg, representing Miss Thomas. Mr. Aitken presided and Mr. Seligsberg, re- tiring counsel for Mutual, acted as chairman of the meeting. After the minutes of the preceding meeting had been read. Dr. Hall nominated Mr. Freuler for president and general manager and he was elected without opposition, as was each of the candidates, in turn, the acting secretary casting the ballots for the board. Mr. Livingston proposed Mr. Than- houser for vice-president and Mr. Hutchinson put up the name of Mr. Kahn for treasurer. In electing Mr. Field as counsel for the next three years it was understood that he would devote himself entirely to the affairs of the Mutual Corporation. ■ .
Starting with the old Calumet Company, which subse- quently was sold to the General Film Company, Mr. Freuler has learned every angle of the film business, including both manufacturing and selling. In association with Mr. Hutch- inson he organized the American Film Manufacturing Com- pany and had much to do with planning the successful serial. "The Diamond from the Sky."
W. E. Shallenberger, vice-president of the Thanhouser Syndicate Corporation and large stockholder in the Mutual. Thanhouser and American film companies, when asked for a statement on the election of Mutual Film Corporation offi- cers, said:
"Mr. Freuler brings to the Mutual a wealth of experience in the three collateral branches of the industry — distribution, manufacture and exhibition. He knows at first hand the de- tails of all these ends of the business. Mr. Freuler has made a tremendous success of all his various ventures and I feel certain that in his new capacity he will carry the Mutual Film Corporation along to great successes. He is a man of clean ideas and high ideals: he insists on clean pictures, and he is wrapped up, heart and soul, in the establishment of the film business on a firm industrial footing.
"It is apparent to all that many changes, some vital and some merelv incidental, shortly will occur in the film indus- try in the United States. These changes will affect, partic- ularly, the manufacture and distribution of pictures. Mr. Freuler is singularly well fitted to be at the head of the Mutual in this transitional period of the business."
In discussing the situation immediately after the meeting, Mr. Freuler said:
"The relation of this organization to the film business combines the responsibility of distributor and jobber as well as wholesaler. Our chief task is merchandising our products so that we may all secure a reasonable return for our money. Hence the necessity of doing everything possible in the in- terests of the exhibitor or retailer that he may secure returns without which his business cannot be conducted successfully from either the manufacturer's or distributor's standpoint. We want to do for the retailer, everything that will prove of benefit to him. We want the exhibitor to be put into a posi- tion where our service will be helpful and will neithe- begin nor end with simply supplying him with films.
"I feel that there is a responsibility on this organization in the way of helpful suggestions in conducting the exhib- itor's business. We want to heln the exhibitor make his theater more attractive, to arrange his program so that the public will be pleased to patronize his place and continue to do so. i
"You must remember that the public is the final judge and that the exhibitor must, of necessity, reflect the attitude of his patrons. Therefore, it will be the duty of the Mutual to see that the regular program is strengthened in every way. We will supply not only an attractive list of one- reelers and two-reelers, but we will see to it that the sub- jects are sufficiently varied so that the exhibitor will give his patrons an interesting arrangement comphehending both drama and comedy in like proportions.
"On the other hand, the exhibitor must not be passive. The best show in the world will not be a success unless the exhibitor co-operates, unless he arranges his lobby attractive- ly and varies same with regularity. He must advertise at- tractions so that the public will know what he has got. The exhibitor, therefore, must realize his own responsibility and though we can do a great deal for him, he has got to be his own greatest help.
"As President of the North American Film Corporation distributing 'The Diamond from the Sky' my experience has been that the exhibitor who adopted the majority of the suggestions that we made has been very successful in hand- ling this record-breaking continued photoplay. I advocated from the beginning that exhibitors be generous in the use of heralds and facsimile ten thousand dollar checks. It is significant that those who adopted this form of arousing public interest have seen the result in bigger box office
John R. Freuler in His Office.
receipts. I want to appeal to the selfish, yet natural side of the exhibitor — that side is the box office end of it.
"The regular program of the United Film Corporation will be strengthened in every possible way. I am one of those who believe that the moving picture business is one of vol- ume. It has been so successful because it has brought to millions a form of entertainment that is interesting and in- structive. Big investments have been made in staging mov- ing picture plays and the money has come back to the manu- facturers with interest because of the fact that enables an organization like Mutual to distribute many prints of
July 3, 1915
THE MOVING PICTURE WORLD
41
these pictures. When you consider that on an average of 18,000,000 people every day go to the photoplay in this country, the importance of this volume angle will be ap- parent.
"While occasionally features of unusual nature may com- mand $2 admission prices, one must not be confused over the real destiny of the moving picture business. It is essen- tially entertainment for the masses and not the classes. Hence it is our duty to furnish a program that may be used in a big, broad way by theaters charging fifteen, ten and five cents.
"A new form of entertainment was created with the ad- vent of moving pictures and it is hardly wise to expect that manufacturers will ever depart from the fundamentals and we will furnish in our regular programs, the best possible pictures at prices that will not disturb this basic scheme of giving the masses wholesome entertainment at prices within reach of all.
"It is my intention, as soon as possible, to supply the ex- hibitors all over the country, except in perhaps two or three metropolitan centers, with a plan of model exchanges. It is my purpose to establish these model exchanges wherever practical, on the ground floor. This is done entirely for the convenience of the exhibitors. In this way, the Mutual will be able to display its merchandise to advantage so that ex- hibitors may see exactly what we intend furnishing them with along with the films.
"I want our representatives to sell the theater men ser- vice plus merchandise. There is a responsibility on the rep- resentatives of Mutual beginning before the delivery of the film and not ending either with the showing of the story on the screen. In other words, it is my desire that a spirit of co- operation prevail throughout all Mutual offices and I will work to that end."
Other changes among the Mutual officials have brought men well known in motion picture activities. Mr. Field is a; Milwaukee attorney, who for a number of years has been closely identified with photoplay production, and Mr. Smith is a capitalist and banker connected with interests in New York, Chicago and many other large cities.
Kalem "Fours" Popular.
This Progressive Company Has Struck a Responsive Chord With Its Features.
THERE is no doubt about the fact that Kalem has touched a responsive chord in the minds of motion pic- ture exhibitors in adopting the policy of releasing four- reel features in regular service. A preliminary announce- ment issued some weeks ago was well received by exhibitors, but judgment was withheld until the quality of these features could be determined.
The manner in which the press and a representative gath- ering of exhibitors in and about New York City received the first of these four-part subjects, "Midnight At Maxims," at a private presentation recently, however, dispelled all doubt as to the quality of these features. It was evident that Kalem was determined to spare no effort to make them qual- ity productions, and the letters subsequently sent in by ex- hibitors made it plain that the new four-act productions were assured of an enthusiastic reception.
According to the policy definitely decided upon by Kalem, a four-reeler will be issued on alternating Mondays, com- mencing with Monday, July 12th. These features in turn will alternate with the three-part productions now being released, and, like the latter, will be "Broadway Favorites" features. A popular player of the legitimate stage who has won success on Broadway will be presented in each subject.
"Midnight at Maxim's" will be followed by an elaborate four-act photoplay production of the famour romantic drama "Don Caesar de Bazan." This play, generally regarded as the most popular of the dramas the action of which is laid in the swashbuckling era, will be the vehicle for W. Lawson Butt, the English star. Mr. Butt has played Don Caesar upwards of three hundred times upon the legitimate stage.
In fact, a visitor at Kalem's New York, New Jersey, Cali- fornia and Florida studios would find these working at full blast on four-reel features. And, if he knew any of the players who have appeared on Broadway, he would meet many friends at work in these studios.
Incidentally, Kalem is issuing a novelty in connection with "Midnight At Maxim's" which should be welcomed by ex- hibitors. This consists of a button containing a full figure of the prettiest of the Maxim beauties. This miss is shown in the act of executing a graceful step. A caption containing the words "Midnight At Maxim's" is directly underneath the dancer. The "Maxim Girl" button should be of decided help to exhibitors in arousing interest in the four-reel Kalem fea- ture, in addition to forming an unusually attractive souvenir.
Metro Day At World's Fair.
Panama-Pacific Committee Will Have a "Bushman Day" on July 15th.
WHAT constitutes the most important recognition of motion pictures and motion picture stars is, without a doubt, the announcement this week from the Ad- ministration Committee of the Panama-Pacific Exposition at San Francisco of Francis X. Bushman day July 15th, with the noted star and his leading woman, Marguerite Snow, as the special guests of honor with special functions and awards in honor of the event. The following telegram from Sol Lesser, California representative of the Metro Pictures Cor- poration, outlines the affair:
Richard A. Rowland. Metro Square, 42d Street and Eroadway. New York City.
Have received notice from Exposition Committee July loth to be Metro day with Bushman and Snow guests of honor. Entire fair given over to us tor day. Special award of gold medal to Bushman and Snow following enactment of silent dramatic piece in front of Administration Building. Entire evening devoted to fireworks display and Bushman s likeness to be burned in set piece titty feet high. Metro will be luncheon hosts to all photoplayers and exhibitors attending. Am forwarding official document from Exposition Officials. — Sol L.. Lesser.
Harry Reichenbach of the Metro forces will leave New York for San Francisco July 7th. He will be accompanied by Mrs. Reichenbach and a number of Metro stars and will take with him the artistic display Metro will use at the Mo- tion Picture Convention.
Francis X. Bushman, who is now at work at the Quality- Metro studio, Los Angeles, will arrive at San Francisco about July 10th and when he gets off the train he will be the most surprised man in the world, for the Metro Com- pany, appreciating the deep honor paid their leading star, will plaster the coast cities with twenty-four sheet pictorial paper announcing July 15th as Bushman Day and inviting the people to witness the enactment of a thrilling silent drama. ,
Mr. Bushman and Miss Snow will be accompanied to San Francisco by Willard Bauman, the director, Fred J. Bal- shofer and Charles "Feature" Abrams. The dramatic docu- ment Bushman will use for his public performances will be a powerful one act playlet from the pen of Robert W. Serv- ice, the American Kipling, who is responsible for "The Shooting of Dan McGrew," "My Madonna" and "The Spell of The Yukon," and "Through the Door" was written by Mr. Service for the late Clara Bloodgood and the latter died a suicide before she could realize her ambition to play the Service piece. Mr. Bushman will be supported by the Qual- ity Pictures Corporation players. The piece will be staged on a hugh platform to be constructed in front of the Ad- ministration Building and according to Mr. Lesser, seating arrangements for twenty thousand people is going forward.
For the firework display, General Manager Rowland of the Metro Company has completed arrangements with the direc- tors of the Consolidated Fireworks Company for the con- structing of a set piece fifty feet in height, with as near a likeness of Mr. Bushman and Miss Snow as it is possible to arrange.
Thousands of souvenirs are being made now bearing like- nesses of Bushman and Snow, and one of these will be given to each visitor to the Exposition on Bushman Day.
By telegraph, Harry Reichenbach has arranged for two pages in one of the big San Francisco dailies, in which the life story of Bushman and Snow will be published, and in another, 'Through The Door," will be run serially for a week previous to the date of its enactment.
The Metro party will leave New York for San Francisco on the Exhibitors' Special, arranged for by the Convention Committee at the time of Mr. Cory's visit here. Metro will have one of the largest, if not the largest, representations at the exposition.
CONSTITUTIONAL AMENDMENT HEARING.
A hearing on the proposed amendment to the constitution of the State of New York to give motion pictures the same immunity as the press from previous restraint was held be- fore the bill of rights committee of the Constitutional Con- vention at Albany on Wednesday, June 23. All the members of the committee were present.
Delegate Eisner, who introduced the amendment, spoke in its favor. He was followed by W. W. Irwin, of Y-L-S-E, Paul H. Cromelin of the Cosmofotofilm Co., J. W. Binder of the National Board of Censorship, S. L. Rothapfel and W. Stephen Bush of the Moving Picture World.
The hearing lasted for two hours and the remarks of the speakers were listened to with close attention. The com- mittee reserved its decision.
42
THE MOVING PICTURE WORLD
July 3, 1915
Kessel-Baumann-Aitken
A Big Three Combination for the Production of Feature Pnotoplays.
HAVING withdrawn from the presidency of the Mutual Corporation, H. E. Aitken will hgure in a new alliance for the production of feature pictures in which Ad. Kessel and C. O. Baumann, with D. W. C-rirhth, Thomas H. Incc and Mack Sennett as the chief directors, will be the most important factors. The new $4,000,000 company is being organized at the present time and probably the pro- gram will be ready for release early in September, on the expiration of the New York Motion .Picture Company's con- tract with Mutual.
From a source of indisputable authority, the Moving Picture World has learned that the New York Motion Pic- ture Company will not renew the Mutual contract. Enough Keystone, Kay-Bee, Broncho and Domino productions have been completed to fill the program demands up to September 1, and at present the energies of the entire Kessel and .bau- mann organization are being expended in preparations tor the new teature output, fn tnis respect, it is significant that Mr. Kessel spent more than six months on the Coast during the past winter and expended nearly $100,000 on studio im- provements. He is now busy at his New York office placing stars of the legitimate stage under long-time contracts.
An erroneous statement appeared in several daily papers to the effect that the productions of Directors Griffith, lnce and Sennett would be marketed to theaters charging a two- dollar scale of prices. There will be no such stipulation, al- though it is probable that a novel method of distribution will be devised. As planned at present there will be a weekly output of fourteen reels, two five-reel subjects, two two- reelers, with a star featured in each production. The program will be so arranged that exhibitors will be supplied with a full seven-reel program the first of every week and another for a mid-week change. It is not unlikely that the new brand will be called Sig Feature Films, a combination of the initial letters in the names of the three famous directors who v*ill make the pictures.
Clune Buys Studio.
Big Los Angeles Exhibitor to Embark in the Production of Pictures — Has Capital Pledged.
(Special to the Moving Picture World.)
WH. CLUNE, Southern California's big exhibitor, has bought the studio acquired a few weeks ago by the Famous Players from the Fiction Company, of which Louis Joseph Vance was the head. All the buildings are new, of most approved design, and rest upon a large plot of ground at the corner of Melrose and Broson avenues, South Hollywood.
Mr. Clune for some time has been confronted with the problem of obtaining big pictures for exhibition in the Auditorium, with 2,900 seats, on which he holds a long term lease, ft is his intention to produce four or five subjects a year, and to select such stories as will be adaptable for pre- sentation in a big theatrical way, with special music and atmospheric settings. These, of course, will first be shown in the Auditorium. If successful here they will be sent to New York and other large cities.
Lloyd Brown, manager of the Auditorium, will be man- ager of production for the new company. Mr. Brown is not yet ready to name the technical director who will assist him, but it will be a picture director of wide experience. There will be no change in the management of the Auditorium other than the appointment of an assistant to Mr. Brown.
ft is expected that the work will begin in about thirty days. Mr. Brown says it will be the aim to feature the story rather than any particular star or stars, the cast for each sub- ject being selected by type. While Mr. Clune has person- ally taken over this fine property, this step is only prelim- inary to the organization of a company, capital for which is already pledged.
V. L. S. E. AT CINCINNATI AND DETROIT.
Announcement is made by the V-L-S-E of the establish- ment of two new offices; one at Cincinnati, Ohio, and the other at Detroit, Michigan. The Cincinnati office will be in Charge of R. S. Shrader, well-known in film circles through- out the middle west, and the Detroit office will be looked after by R. R. Hutton, who has distinguished himself as a member of the new school of business boosters.
With the opening of these two offices, the "Big Four" family has increased from six to sixteen branch offices in less than three months time, and every one of the sixteen offices now in operation is working to capacity.
Kalem Featuring Baroness.
"Midnight at Maxim's" Offered as Feature With an Excep- tionally Wide Appeal.
IN exploiting "Midnight at Maxim's," the spectacular four- act "Broadway Favorites" feature, which they have pre- pared for release in the regular General Film Service Monday, July 12, the Kalem company are paying particular attention to the personal popularity of the various stage
Baroness Imgard von Rottenthal in (Kalem).
'Midnight at Maxim's"
celebrities whome they engaged for the production. Chief among these celebrities is the Baroness Imgard von Rot- tenthal, born a member of the Austrian nobility and known throughout this country and Europe as one of the most earnest and artistic exponents of the classic dance. The Cameron Girls and Leo Pirnikoff and Ethel Rose, who have been featured in practically every vaudeville house of conse- quence in the United States, also appear in the picture.
With these names to conjure with, picture idea which is unusual in character, and a production which is particularly pretentious, the Kalem company feel that they are offering exhibitors one of the best drawing cards which they have sent from their studios in many months.
The Baroness Imgard von Rottenthal is expected to prove of particular value to the picture, not only because of the splendid work which she has done in it, but also because of the unusual breadth of the appeal which her appearance on the screen will have. The Baroness has danced in the ball- rooms of such people in New York City as Mrs. Stuyvesant Fish, Mrs. Taylor Pyne, Judge Elbert H. Gary, Mrs. Benja- min Guinness, and the Prince Troubetskoy, in Newport for Mrs. Mitchell Clark and others, and in Chicago with the in- ternationally famous Theodore Thomas orchestra at a special engagement in Ravinia Park. Because of such engagements, the Baroness is particularly well known among society peo- ple.
In New York and other important American cities, the Baroness has established quite a following because of her numerous appearances for charity. Ever since she has been dancing professionally she has made it a rule to appear at least once a year at some big performance in aid of the poor and unfortunate. A notable performance of this nature was one given not long ago in Columbus, Ohio, under the auspices of the municipal department of charities when the Baroness' audience of approximately 5,000 people was made up practically without exception of orphaned children. For them she presented a specially selected program of dances which, though classic and artistic in the extreme, sent each youngster out with a recollection of the Baroness Imgard von Rottenthal which will certainly be turned into capital by the Ohio exhibitors who play "Midnight at Maxim's."
In the big Kalem picture, the Baroness appears in two of her best known dances, namely, "Sea Mist" and "Snow Flurry." In a recent interview she said that she had been deeply impressed with the opportunities which were offered artists of her type by the photoplay screen.
July 3, 1915
THE MOVING PICTURE WORLD
43
Lasky Will Build Studio.
Goldfish Announces That New Edifice Will Be Erected At Los Angeles.
SAMUEL GOLDFISH of the Lasky Company has re- turned from a trip to the coast renewed in health and renewed in his abiding faith in the picture. He also brought back a budget of interesting news. The Lasky Company is going to build a magnificent new studio in or
Left to right: Cecil B. DeMille, Adolf Zukor, Jesse L. Lasky, Samuel Goldfish.
near Hollywood. Negotiations for acquiring a large tract of land have been completed.
"We plan to have this new studio of ours the best that money and experience can possibly procure. It will embody the improvements that the experience of the last few years have made possible. All the big things in a studio will be there and likewise the minutest details for perfect work. Of course, it will be absolutely fireproof. Some of the minor features will be a shower bath in each dressing room and a perfectly equipped gymnasium. In the gymnasium our artists will have the amplest opportunity for cultivating health and strength and thereby increase the value of their work, for health and strength beget grace and ease of motion and a certain artistic playfulness which are most pleasing to the spectator. There is a spirit of athletic improvement in the studios now, as witness the informal boxing matches between the reels as it were. We will make a careful and painstaking examination of all the great studios in Europe before we begin work on our new plans."
Mr. Goldfish spoke with an air of deep conviction on the final triumph of the clean picture over the sensational fea- ture which does not aim to be clean and wholesome.
"There may be times," he said, "when it might seem as if the sensation hunters were in the majority and when the man with the sensational picture with its undercurrent of suggestiveness may seem to be in the ascendant and may seem to draw the bigger crowd. This appeal, however, can- not last. The public which is fed on hot spices will come back for more and more and, of course, the craving cannot be gratified all the time. When the patrons, therefore, come and look for a new sensation and do not get it they are dis- appointed and they go back to the man with the clean pic- ture. In the end the clean drama must win out. No lasting structure can be erected on a program of sensationalism and salaciousness. We are overwhelmed with congratulatory letters from exhibitors who say that they know the Para- mount pictures have the strongest average and are, there- fore, the most reliable. I will tell you without fear of con- tradiction that at the coast the Paramount pictures are the pictures that have the largest and the steadiest patronage. It is that way all over the country. There must come a time when the supply of so-called legitimate stars and plays comes to an end. What then? Then we must have men who can write directly for the screen, appealing to this wonderful medium of dramatic expression immediately and not medi- ately or at second hand through a novel or through the adaptation of a drama. With this end in view we are paying most particular attention to the development of a genuine screen school of dramatists. I think I may say that we have become experts in the art of extracting film values from plays originally intended for the speaking stage. Our scenario de- partment, consisting of the very best men available and oc-
cupying from four to five rooms, is acquiring valuable ex- perience in this difficult art of adaptation. Lots and lots of plays that we rejected long ago because their film values were so slight or because tliey depended altogether too much on the dialogue are now being tatcen up by newcomers in tne art. Lvery man and woman who lias c\cr had a few speaking lines in a Broadway play proclaims himself or herself a legitimate Broadway star and is lionized on the screen at the expense of the people who are rich in hope and poor in experience, and whose spiritual possessions are often re- versed in the process. Ihese people or some of them, at least, do not scruple to create a demand for their films by an unashamed appeal to what is morbid or often downright indecent. They hurt the whole business in that way. It is ditticult for the reputable producer to undo what these un- scrupulous men have done.
"1 am thoroughly convinced that California is the only place in the world tor taking motion pictures if you want to get the best results in photography and in atmosphere. I had been inclined to favor a transfer of our forces to the Last, as so many of the big men in the histrionic and dra- matic held are here, but I have been converted by Mr. Lasky and Mr. De Mille. The results of California light and cli- mate cannot be equalled anywhere. 1 think we have shown that in a number of pictures, notably in "The Arab", where the Oriental atmosphere is just pertect."
New Combination Formed.
United Producers Desert United Film Service and Arrange With New Distributing Concern.
THE past week has seen some radical changes in the motion picture map of this section, not the least of these being the practical failure of the United Film Service, which is now in the hands of two receivers appoint- ed in an action in bankruptcy and what appears to be the abandonment of that distributing organization by the group of producers, the United Producers' Corporation, which has been providing the United Film Service with pictures.
When it became apparent that the United Film Service would not be able to meet its obligations to its producers the proprietors of the several companies banded together as the United Producers, began to look around for a de- pendable outlet. The result of those efforts came to an issue on Tuesday night when the formality of organizing a new combination of producers to be known as the Combined Photoplay Producers, Incorporated, was performed.
The officers of the new combination are Ludwig G. B. Erb, president; J. A. Golden, treasurer, and H. M. Goetz, secre- tary. Included are the following producing companies: Crystal, Gaumont, Erbograph, Ideal, Pikes Peak, St. Louis Motion Picture Co., Albuquerque, Grandin, Smallwood and Mittenthal. The offices of the combination will continue at 110 West 40th street.
Warner and Lichtman Form Distributing Company.
Following the announcement that the United Producers had reorganized and decided to abandon the United Film Service came the news that A. and H. M. Warner and Al. Lichtman had formed the Standard Pictures, Incorporated, for the purpose of handling the product of the Combined Photoplay Producers. The incorporators of the Standard are well known to the trade as e>'change men of the widest experience and ability. Spea-king for the new distributing organization, Mr. Warner explained that the exchange con- nections were practically completed and that they would be ready to serve customers within a week or so.
The Standard will not lease its pictures, but will sell them outright to the exchange. A very advantageous contract has been signed by the producing companies which will give the Standard control of the quality of the pictures offered and enable the officers of the distributing organization to maintain the excellence of the program. Both Mr. Warner and Mr. Lichtman are pleased with the prospect and be- lieve that little difficulty will be experienced in putting the project upon a paying basis. They point out the fact that theirs is a strictly business proposition, operated by experi- enced motion picture men and in no sense will it be pro- moted for stock jobbing purposes.
ROTHAPFEL GETS A DINNER.
As a fitting testimonial of appreciation of the effortsof S. L. Rothapfel to improve the science and art of projection of motion pictures and to give ambitious productions a proper presentation to the public, representatives of the lead- ing producing companies joined in a testimonial dinner to Mr. Rothapfel at the Hotel Astor on Thursday evening, June 24.
44
THE MOVING PICTURE WORLD
July 3, 1915
The Motion Picture Exhibitor
MASSACHUSETTS LEAGUE OUTING. Exhibitors Have Big Time at Pemberton on June 16.
MEMBERS of the Motion Picture Exhibitors' League of Massachusetts are now rejoicing over the success of their annual outing which was held at Pemberton during the past week. All who attended agreed that it was "one glorious time."
Nearly one hundred members of the league assembled at the Nantasket Steamship Company's wharf on Atlantic avenue, Boston, at 10 o'clock on the morning of June 16. All were prepared to enjoy themselves and they certainly did.
Before boarding the steamer for the sail to Pemberton each person in the party was decorated with an "iron cross." The weather seemed to be rather doubtful at first, for as soon as the steamer left the wharf a heavy shower started, but when the outgrounds were reached it had cleared up and the sun was shining brightly.
The first event and feature of the day was a baseball game between the exhibitors and the exchange men. This contest was won by the former by the score of 26 to 17. Like all baseball contests the game started most peacefully. It was not long, however, before arguments of every description prevailed. Umpire "Joe" Di Pesa was accused of favoring the exhibitors in his decisions and was finally mobbed, not in reality, but for the cameramen of the Hearst Selig News Pictorial and Pathe's Weekly, both of whom decided that a little action was needed.
The contest was full of excitement from start to finish. More than once did "Jake" Lourie of the exhibitors' nine start an argument in which Scorer Ernest H. Horstmann was involved. These were peacefully settled by Vice-President P. F. Lydon, whose word was never disputed.
The members of the winning team were each presented with a small silver loving cup. The team was also presented with a large loving cup, donated by Fred B. Murphy of the New England United Film Service. The latter trophy was donated by the team to the league and will be presented to the winning baseball team at the next outing, which will be held at Suntaug Lake, Lynnfield, on July 16.
The winning team was composed of the following: Catcher, J. Lourie, Beacon theater, Boston; pitcher, Louis Boas, Academy, Fall River; first base, C. Wesley Fraser, United
Booking Office; second base, C. E. Daniels, Dreamland theater, Lynn; third base, Henry Burke, Princess theater, Marlboro; shortstop, H. G. Jacobs, Animated Slide Com- pany; right field, J. Cohee, Olympia theater, Lynn; center field, . H. McCloskey, Moving Picture World; left field, S. McAdams.
After the ball game, a light lunch was served on the grounds and then all enjoyed themselves in any manner suited to their liking.
At 3.30 P. M. the track events took place. The list of winners follows: Potato race, W. I. Cowan, World Film Corporation: hop, step and jump, Victor Morris, Orpheum Theater, Boston; three legged race, V. S. Cohen and E. R. Daniels; spoon and potato race, C. Wesley Fraser; fat men's race, S. J. Bernfield, Pathe Exchange; 50 yard race, F. A. Grady, V-L-S-E.
Dick Sears and Sam Hutchinson, camera men for the Hearst-Selig and Pathe, respectively, made some interesting pictures of these events. They claim to have caught Sam Bernfield in action, as he fell while running in the fat men's race.
An award of the prizes followed and a shore dinner was served at the Pemberton Inn. The success of the affair is entirely due to the work of the committee, which comprised Samuel Grant, Louis Boas, J. Lourie and Glover Ware.
Those who attended were President Ernest H. Horst- mann, Olympia Theaters, Inc.; Vice Presidents John F. Patten and P. F. Lydon; George Bolsden, V-L-S-E; H. I. Wasserman, Roxbury; F. Swett, Nicholas Power Com- pany; H. Sivovolos, American Feature Film Company; Glover and Harris Ware, Beverly; Harry N. Farren, Boston; W. B. Sproul, Charlestown; F. A. Grady, V-L- S-E; H. Mailee, Scollay Square Olympia, Boston; H. G. Jacobs, Animated Slide Company; C. Wesley Fraser, United Booking Office; H. Cohee, Olympia Theater, Lynn; W. I. Cowan, World Film; Louis Boas, Academy, Fall River; Representative George Curran; S. McAdams; J. Eyster; Sam Grant; Joe Cahill, Brockton; S. Frankel; J. Barhydt; Fred McAloon, Worcester; John Casey, Boston; Frank J. Howard, Olympia Theaters, Inc.; Joseph Di Pesa, Uni- versal; J. Lourie; W. Keon, Salem; Clarence Mixer, Somer- ville; Henry Burke, Marlboro; Lieut. Chapman, Metro-
Sears (Hearst-Selig).
Outing of the Motion Picture Exhibitors' League of Massachusetts.
July 3, 1915
THE MOVING PICTURE WORLD
45
politan Park Police; H. James, Chelsea; C. H. Buckley; Al Somerby, Bowdoin Square Theater, Boston; Thomas Sprye, American Feature Film Company; Alden F. Wash- burn, Unique, Boston; R. D. Marson; Charles Hodgdon, Wakefield; Samuel Moscow, United Film Service; Frank Vine; Harry F. Campbell, Fox Film Corporation; C. Merch- ant, Famous Players; Samuel Bernfield, Pathe; Victor Morris, Orpheum Theater, Boston; Carl Kaufman; Bert Ford, Boston American; Leslie Allen, Motion Picture News; Franklin P. Collier, Boston Journal; Hiram Abrams and Harry Asher, Famous Players.
CONVENTION OUTLOOK GOOD.
Extensive Plans Formulated by Local Committees — Coast
Exhibitors Will Turn Out in Force.
THE various committees having the planning and local arrangements for the coming National Convention at San Francisco in charge are making splendid headway and there is every indication that the meeting will be a great success from the standpoints of both attendance and results. Many applications for hotel reservations have been received from all points of the country, indicating that ex- hibitors are intending to take advantage of the opportunity of attending the National Convention and at the same time inspecting the greatest exposition in all history. The com- mittee in charge of hotel arrangements wishes the fact em- phasized that normal rates will prevail during the convention week, and throughout the life of the exposition for that mat- ter. The exposition management has formed a hotel bureau, with which most of the hotel owners have affiliated, and rates are absolutely guaranteed. However, there will be a heavy rush during July and August and those planning to come to San Francisco are urged to communicate with M. E. Cory, chairman of the convention committee, 948 Market street, and arrange for accommodations.
Convention badges have been ordered and these will doubtlessly be cherished as souvenirs of the Jewel City.' The top part is of metal and shows the wonderful Tower of Jewels at the exposition, with the words and date, "San Francisco — 1915." The usual space is provided for the name of the wearer, and below is the official league emblem of rose colored metal. The ribbon used is of the exposition colors. A very attractive one-sheet poster has been made and these are being sent to every exchange and producing plant in the United States, as well as to large houses.
Although the exhibiting space at the Civic Auditorium is much la-rger than has ever before been the case it has all been taken and the committee in charge of this part of the convention has been compelled to seek additional facil- ities. Several of the leading makers of equipment have asked for double the space formerly contracted for and many new applications are on file.
California exhibitors will attend in almost a body and the interest being taken by them is clearly shown in the great increase in the membership of the State League dur- ing the past month. A steady stream of applications has been coming in in response to letters sent out by President H. L. Beach.
As a result of Chairman Cory's trip to Los Angeles it is announced that the attendance of the following screen stars at the grand ball which closes the convention is assured. Blanch Sweet and Carlyle Blackwell, of the Lasky Co., House Peters, William Hart, Bessie Barriscale and Mar- guerite Thompson, of the New York Motion Picture Co., William Duncan, Myrtle Gonzales, af the Vitagraph; Mary Alden, Mae Marsh, Lillian and Dorothy Gish, of the Majes- tic; Katherine Williams and Tom Santchi, of Selig; Charles Chaplin, of Essanay: Ruth Roland and Thomas Allen Rector, of Balboa — this couple will be featured in exhibition danc- ing— Ford Sterling, Owen Moore and Mabel Normand, of Keystone; Beatrice Michilena, of the California Motion Pic- ture Co. Francis Ford, and Grace Cunard, Bob Leonard and Ella Hall, Herbert Rawlingson and Marguerite Little; Cleo Madison, Al Christy and the entire Harrigan Company from the Universal.
In addition to the above stars, Mr. Lasky is trying to in- duce Geraldine Farrar to attend and has placed a private car at her disposal for the trip if she will consent to make it. D. W. Griffith, the world's famous director, has consented to address the exhibitors during one of the business sessions of the convention. Carl Laemmle, president of the Univer- sal, will be at the convention the entire week and will make an address at one of the business sessions. Col. W. N. Selig will also be in attendance and give the boys some good, fatherly advice. Col. Selig plans to make the trip from Los Angeles to San Francisco to meet the Selig Special and will return to Los Angeles immediately after the close of the convention. It is planned for the entire party to come to Los Angeles and spend several days in visiting the large
studios. Elaborate plans are being made for entertaining the visitors. At the Selig plant, after inspecting the Zoo, a luncheon is to be served, followed by a dance in the large open air dancing pavilion. Universal is planning to film a spectacu- lar scene and also give the visitors a chance to watch Nat Goodwin and Director Otis Turner, producing the Universal feature. Visits will also be made to the Majestic and Ince studios.
This will undoubtedly be the greatest gathering of motion picture people in the business and if the exhibitors through- out the country realize the importance of the event, many of them will undoubtedly make a special effort to attend. The floor space has all been contracted for and the commit- tee is now trying to arrange additional space for those who neglected the matter until the last minute. A great many concerns have also doubled the space originally contracted for. The Paramount people are a notable example, as they will now use four booths instead of one. One booth being used by the Paramount Exchange and one by each of the three Paramount producing companies.
Gov. Johnson has consented to make the welcoming ad- dress at the opening session of the convention. The Gover- nor and Mayor Rolph will both be present at the dance and officiate in leading the grand march, introducing the screen favorites. The day following the close of the convention is Liberty Bell Day at the Panama-Pacific Exposition. The players will be guests of the Exposition Company on this date, and participate in the ceremonies being arranged.
It has been found impossible to arrange the special trains as originally contemplated, owing to the fact that a great many of the exhibitors from the east are leaving ahead of time and making various stops en route. Also the people having charge of the exhibits for the various companies have found it necessary to arrive in San Francisco several days in advance of the opening date. The same condition applies to those coming from Los Angeles. The first contingent, comprising representatives of the press and the publicity men of the various studios, will leave Los Angeles in a spe- cial car Sunday night, arriving in San Francisco Monday morning, July 12. The San Diego and Los Angeles exhib- itors will leave in two special cars the following night, while the actors and actresses will leave Thursday night. A great many others, in addition to the artists above mentioned, have expressed their intention of attending the convention 'during the last day or two, and taking in the dance. In fact Joe Brandt says it seems they might just as well close up Uni- versal City entirely and let everyone go.
Hotel Manx has been selected as the official headquarters and those expecting to attend the convention, are urged to write or wire the committee immediately regarding the de- sired reservations.
At Los Angeles the party will be quartered in the Hay- ward and Angelus. Messrs. Ince and Sennett have promised to attend unless called to New York on business.
PHILADELPHIA EXHIBITORS' OUTING.
Members of League Local and Their Friends Will Go to
Atlantic City.
ACCORDING to latest indications the Atlantic City excursion of the Philadelphia Exhibitors' League, to to be held on July 18, will be of much larger pro- portions than was at first indicated. Practically every mem- ber of the Philadelphia center will be in attendance and many of the exhibitors of Camden and other points in New Jersey have signified their intention of joining the party. Ben Zerr of Reading, president of the Pennsylvania Exhibitors' League, has promised to attend accompanied by fifty of the moving picture men from up the State. Many of the Lubin stars have also promised to attend. It is expected that there will be at least several hundred aboard the special train provided for the occasion when it pulls out of the shed in Camden. The folks from Reading have also arranged to come to this city in a special car.
Mayor Riddle of the famous seashore resort, will meet the visitors at the station, accompanied by the members of the Atlantic City Exhibitors' League and a band of twenty- five, pieces. With the musicians playing a spirited air the entire party will march to the Continental House where they will satisfy their appetites during their short stay in the city by the sea.
Due to the untiring efforts of E. J. O'Keefe. proprietor of the City Square Theater, Atlantic City, all of the piers have been secured free of charge for the visiting motion picture exponents and it is an assured fact that every opportunity will be grasped in taking advantage of this generous offer.
In the evening a dance will be held on the Steeplechase Pier, and the best dancer will be awarded a handsome loving
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THE MOVING PICTURE WORLD
July 3, 1915
cup. The judges have not as yet been appointed, but no matter who serves in this capacity, there will be a decision handed down that will be based on merit alone. Following the dance the excursionists will repair to the hotel in order to prepare for the journey homeward. The special train of the moving picture party will leave Atlantic City at 12 o'clock midnight.
It may well be added here that anybody who is desirous of accompanying these pleasure seekers is most cordially invited. The expenses of the trip will be very small and for the small sum of three or four dollars one will be able to enjoy a day's outing that could not be had for that price anywhere in the country. Now then, Mr. Exhibitor, see that your face will be in the picture that is to be taken of the party as they are about to depart for the land of pleasure.
CLEVELAND EXHIBITORS HAVE STAMP PLAN, i
At a recent meeting of Cleveland Local No. 1, Motion Picture Exhibitors' League, at headquarters in Moose hall, the members adopted the co-operative stamp idea. Stamps, issued to members of the league only and redeemable for face value — through the league — are to be given patrons of the theaters thus affected. It was the concensus of league members that the stamps will serve as a premium for patrons and awaken a new interest in their theaters.
Ben J. Sawyer is the new president of the league, succeed- ing S. E. Morris, who was voted life membership without dues, a mark of tribute to his long service as executive of the organization.
Pedro de'Cordoba Joins the Lasky Company
THE Jesse L. Lasky Feature Play Company announces that it has engaged the services of Pedro de Cor- doba, one of the most popular of the younger gen- eration of Broadway romantic actors. Mr. de Cordoba has already reached the studios in Hollywood, California, where he will begin work immediately.
Pedro de Cordoba is a direct descendant of Gonzalbo de Cordoba, known in Spanish history as Lei Gran Capitan, who lived at about the time of Columbus and who became a historic character by driving the Moors out of the southern part of the Spanish Peninsula.
Pedro de Cordoba, of mixed Spanish and French parentage, was born in New York City and early became pro- ficient in playing the violin. His first ambi- tion was to go on the operatic stage but his voice was such a heavy bass that he could only be cast as the "King" or "father," whereas he always wanted to be the hero. He therefore decided to go on the stage and attended the American Academy of Arts.
Daniel Frohman ob- served his work during the graduating per- formances of his class and engaged him to do minor roles with E. H. Sothern in Shakesperian repertoire. During the first year of this engagement he played with Mr. Sothern in "If I Were King" and "Hamlet" and during the second year in "Hamlet" and "Proud Prince." At the end of these two seasons Sothern and Marlowe reunited as joint stars and de Cordoba remained with them, playing some more important roles, such as Lorenzo in "The Merchant of Venice" and Paris in "Romeo and Juliet." During the sec- ond year of this joint starring engagement, which was the fourth year of de Cordoba's experience with Sothern, he added "The Taming of the Shrew" to the other plays in his Shakesperian repertoire.
After this, Mr. de Cordoba became ill and remained off the stage for a period of about two years. The only work which he did during this period was to give a number of concerts, for he took up the violin again with pronounced success. At the end of this enforced vacation he returned to the stage, playing the leading male role in "The Three ot
Pedro de Cordoba.
Us" on tour. His next engagement was as Lancelot in "Merely Mary Ann." After this brief excursion into the modern drama, de Cordoba returned again to Shakespearian repertoire, going on tour with John Griffith in "Othello," "Macbeth," "Faust" and "Don Caesar de Bazan."
Mr. de Cordoba then became associated with the New Theater, which had just opened under the direction of Win- throp Ames, and appeared there in a number of the leading productions such as "Sister Beatrice," "The Blue Bird" and the "Arrowmaker." Following two years at this endowed playhouse he returned to Broadway, playing such parts as the Prince in "Turandot;" Jacob in the "Five Frankfurters," and the musician in the "Master of the House." He also had an important role with Mine. Simone in her presentation of "A Scrap of Paper," and in the elaborate Liebler produc- tion of "Joseph and His Brethren." At this point Mr. de Cordoba returned again to the Shakespearian stage, appear- ing with Mr. Faversham in "Othello," "Julius Caesar," and "R'omeo and Juliet." He then joined Margaret Anglin in her Shakespearian productions, such as "As You Like It," and "The Taming of the Shrew," and in her revival of "Lady Windermere's Fan."
Mr. de Cordoba's most recent engagements have been in the "Song of Songs" and "Beverley's Balance."
At Leading Picture Theaters
Programs for the Week at the New York Motion Picture
Houses. Vitagraph Theater Attractions. f f/T-A HE LORELEI MADONNA," written by Lulu Case Russell and produced by the Western Vitagraph A Company, under the direction of Rollin S. Stur- geon, is this week's novel feature at the Vitagraph Theater. This three-part feature tells of an artist who is ambitious to paint a Madonna to fill an unoccupied niche in the chapel of the mission where he was raised. While in Tahiti the artist meets a girl of the dance hall, "The Lorelei," who cap- tivates him, and he paints her as his ideal Madonna. Dramatic consequences follow his act. The scenery of California and Tahiti has furnished any number of beau- tiful landscapes. Alma Reuben, Juan de la Cruz, George Kunkel, Marcia Moore, George Stanley and Edgar Martin Teller, are included in the cast. Chapter VIII. of the Vita- graph Serial, "The Goddess," shows several very interest- ing episodes this week. Twelve of the Vitagraph stars, headed by Anita Stewart and Earle Williams, are in the cast. Four comedies are also on the program. "Billy, the Bear Tamer," introducing Billy Quirk and Constance Tal- madge, is an amusing love story. "Welcome to Bohemia," played by Wally Van, Nitra Frazer and Albert Roccardi, illustrate how an artist and his friends were tamed by a mother-in-law. "The Honeymoon Pact," in which Lillian Walker and Evart Overton, as a pair of newlyweds, play a joke on themselves; and Number 14 of Roy McCardell's Jarr Family Series, "Mr. Jarr and Gertrude's Beaux," com- plete a representative Vitagraph program.
Victor Moore at The Strand. "Chimmie Fadden," with Victor Moore in the stellar role, is the main attraction at the Strand Theater this week. The plot of the play tells a story of the Bowery in the days when the Irish and the Germans were the prevailing nationalities and the man with the strongest punch had the greatest auth- ority. The author, E. W. Townsend, wrote a series of sketches for the New York Sun, in which "Chimmie" was the principal character. Victor Moore makes an ideal Bowery boy, and the other parts are assigned to Camille Astor, Raymond Hatton, Mrs. Lewis McCord, Ernest Joy, Anita King, Tom Foiman and Harry de Roy. The picture is by the Jesse L. Lasky Feature Play Company. Arthur J. Aylesworth's pictures of animal life and hunting big game in the Canadian Rockies and Alaska, the Strand Topical Re- view, Morati's Operatic Ensemble in new selections, and the Strand Concert Orchestra under the direction of Carl Edouarde, are the remaining features of the bill.
"The Wild Olive" at the Broadway. "Myrtle Stedman in "The Wild Olive" is the leading feature at the Broadway Theater this week. This Oliver Morosco release is an excellently produced photoplay, and Miss Stedman gives a fine impersonation of the heroine. The Broadway Animated News, Paramount South American Travel Pictures and several clever comedies are also shown.
"The Birth of a Nation" at the Liberty. D. W. Griffith's marvelous spectacle, "The Birth of a Nation," still continues to attract crowds to The Liberty Theater.
July 3, 1915
THE MOVING PICTURE WORLD
47
Important Tax Decision
Allows Exhibitors to Transfer Internal Revenue License to Airdomes.
A MOST interesting and a really very important decision having a bearing on the special tax liability of motion picture theaters and airdomes has recently been handed down by Commissioner of Internal Revenue W. H. Osborn. In a notice to collectors of internal revenue, revenue agents and others, Commissioner Osborn states:
"This office has previously held that proprietors of air- domes, in which operatic, dramatic or other representations, plays or performances, motion picture shows, etc., for ad- mission to which entrance money is received, are given, are required to pay special tax under the provisions of the eighth sub-division of section three, act of October 22, 1914. How- ever, upon further deliberation, it is now of the opinion that the proprietors of such airdomes are required to pay a special tax under the provisions of the sixth sub-division of section three, act aforesaid, such tax being based upon the seating capacity of such airdomes.
"Where such airdome is adjacent to a theater, for which the special tax has been paid, and the seating . capacity of the airdome does not exceed the seating capacity of the theater, and performances are not given simultaneously in the airdome and theater, the special-tax stamp, secured to -cover the theater, will cover performances given in the air- dome.
"Where the proprietor of a theater operates an airdome at another location, upon closing his theater he may transfer the special-tax stamp issued for such theater to the air- dome, provided, of course, the seating capacity of the air- dome does not exceed the seating capacity of the theater, and the special-tax stamp, issued to cover performances given in an airdome, may be transferred to cover a theater owned by the same party under the above conditions.
"Proprietors of such airdomes who have paid special taxes under the eighth subdivision of section three, act aforesaid, unless they hold special-tax stamp for a theater which may be transferred to cover such airdomes, will be required to take out special-tax stamp under the sixth subdivision of section three, act aforesaid, and thereupon present for re- demption special-tax stamp secured under the eighth sub- division above mentioned. Of course, under such circum- stances, liability to fifty per cent, penalty will not be incurred.
"All previous rulings conflicting with the above are hereby revoked. W. H. OSBORN,
"Commissioner of Internal Revenue."
The subdivisions of section three, referred to, are as follows:
"Sixth. Proprietors of theaters, museums, and concert halls, where a charge of admission is made, having a seating capacity of not more than 250, shall pay $25; having a seating capacity of more than 250 and not exceeding 500, shall pay $50; having a seating capacity exceeding 500 and not exceed- ing 800, shall pay $75; having a seating capacity of more than 800, shall pay $100. Every edifice used for the purpose of dramatic or operatic or other representations, plays or per- formances, for admission to which entrance money is re- ceived, not including halls or armories, rented or used occasionally for concerts or theatrical representations, shall be regarded as a theater: Provided, that whenever any such edifice is under lease at the passage of this act, the tax shall be paid by the lessee unless otherwise stipulated between the parties to said lease.
"Eighth. Proprietors or agents of all other exhibitions or shows for money not enumerated in this section shall pay $10: Provided, that a special tax paid in one state, territory or the District of Columbia shall not exempt exhibitions from the tax in another state, territory, or the District of Columbia, and but one special tax shall be required for exhib- itions within any one state, territory or the District of Columbia: Provided further, that this paragraph shall not apply to Chautauquas, lecture lyceums, agricultural or in- dustrial fairs, or exhibitions held under the auspices of religious or charitable associations:"
SUMNER GARD ENGAGED FOR "THE IMPOSTER."
Sumner Gard, remembered for his performances in "The Spendthrift" at the Hudson theater; in "Brewster's Millions" at the New Amsterdam theater and with Arnold Daly in "You Never Can Tell," has been engaged by the World Film Corporation to portray the juvenile lead in the new William A. Brady picture, "The Imposter." Jose Collins and Alec Francis, and in addition Robert Cummings, Dor- othy Fairchild, and a host of lesser lights will be seen.
Yale Benner
YALE BENNER'S versatility got to work early in life, allowing him to make many entrances and exits from the stage — playing a sort of hide and seek game with business and the profession, until his success tied him down to the stage.
About twenty years ago — who'd thing it to look at him — he was industriously sawing his way to success in the elec- trical business when the dramatic bug hit him and he forth- with— gadzooks! — developed a swelling which he called "The Brooklyn Dramatic So- ciety." With such man- agerial success, he pro- vided more infectious material in the shape of other amateur societies — and his name spread, until he just couldn't help chucking his job and taking to a reper- toire company playing the smaller towns of the eastern states. He lan- guished in these confines until he found vaude- ville which, slowing up, he jumped again and went into the natural gas business in West Virginia — this having no reference to "hot air," despite the fact that Yale is branded as a humorist.
A number of years spent there and the old longing for the grease paint was too much. He was off again to play with his brothers as Linton, the reporter in Jesse Lynch Williams' romantic play, "The Stolen Story." James Lee Finney's part, Captain Arnold Sylvester, now fell to Yale in the Zira company and in it he did some of the best work of his career. More versatility — he leaves this to play the trying part of the absinthe fiend, Raoul Burton, in "Leah Kleschna," later, with charactertistic nimbleness of adapta- tion, becoming one of the triplets in Harry Winters in "The Three Twins" with Clifton Crawford and Bessie McCoy. Then came two seasons in vaudeville as Miss Hope Booth's leading man, playing the dramatic critic in a sketch, "The Little Blond Lady."
But it was not until Yale wandered into motion pictures that his marked comedy was signally registered. He came east to visit his parents in Mount Vernon when he, out of curiosity, wandered into the Edison studio, and there he has remained, true to his first motion picture love.
In comedy Yale should be renamed "Gale" for that's what he excites in laughter. His fun is so natural, so free of straining after effect and so unctious that it "gets over" with unfailing certainty. At facial expression he is a master of convulsing faces, yet never overdone. He is probably. one of the best-known "butlers" on the stage or screen and many a time and oft has Yale pulled down the honors — and the laughs — when cast for that role, seemingly unimportant.
He has appeared in Edison films innumerable times, some of which, within easy memory because of their funniness, are "The Stuff That Dreams Are Made Of," "The Dumb Woo- ing," where he has a nervous affliction; and in the inimitable comedy, "Going to the Ball Game." Then, in more serious roles, in "The Man in the Dark;" as the scheming butler in "Olive's Opportunities" series, and as the fun-making "in- dispensable" valet in the "Lord Stranleigh" series.
Yale Benner.
WORLD FILM CATERS TO 1,000 PHILADELPHIA EXHIBITORS.
The Philadelphia branch of the World Film Corporation started out with three employes in one room about 18 months ago. It now occupies an entire building at the most promi- nent corner of Film Row. with a personnel of 14 people, open 24 hours every day.
Improvements have been made week by week; servicehas been improved. Every possible attention has been given to the publicity end and 1,000 names of satisfied exhibitors make up the service list of the corporation.
The offices are spacious, light and pleasant. The projec- tion room is well equipped and a little theater in itself, and Manager George J. Beihoff insists upon the most courteous treatment and a hearing for everybody.
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THE • MOVING PICTURE WORLD
July 3, 1915
CHICAGO LETTER
BY JAS. S. McQUADE
The Deplorable Passing of Warren A. Patrick.
THE sudden and wholly unexpected passing away of Warren A. Patrick, of this city, at his home, 636 Fifty- first street, Friday evening, June 18, while suffering from temporary mental aberration, came with the force and nature of a paralyzing shock to his many friends and thou- sands of acquaintances throughout the amusement world.
From what has been learned, Mr. Patrick had been suf- fering from severe nervous prostration for some weeks past, with consequent great despondency, and he disappeared from his home for a period of ten days without any seem- ing knowledge of the distraction and agony suffered by his wife and little daughter, Salome, to whom he had ever been a devoted husband and father. He was taken home Friday evening, June 18, through the efforts of a friend, who found him wandering in a dazed condition, at Rhodes avenue and Thirty-fifth street. A short time afterwards Mrs. Patrick heard a cry from the bathroom to which he had retired. A physician was in the house at the time; but all efforts were fruitless to save the life of the unconscious man.
His wife and daughter are inconsolable, indeed, utterly broken down, by this awful affliction; and to them goes out a flood of sympathy that they may be able to bear their agonizing bereavement. As a friend of theirs and of the departed, I take the liberty to remind them of the words of a great master:
"In the night of death Hope sees a star, "And Listening Love can hear the rustle of a wing."
The funeral services were held Sunday afternoon, June 20, at Hamburg's undertaking parlors, 4649 Prairie avenue, where a great gathering assembled to show their respect for the dead man. The Rev. Joseph Milburn, pastor of St. James Methodist Church, and McKnley Lodge No. 868, A. F. & A. M., Chicago, of which Mr. Patrick was a member, participated in the ceremonies. The services were held under the auspices of the Showmen'^ League of America, of which the dead man was founder and national secretary. The Reel Fellows' Club of Chicago, of which Mr. Patrick was chair- man of the board of governors and largely instrumental in its organization, was also represented in force, among the members present being: R. R. Nehls, president; L. A. Boen- ing, treasurer; Walter Hildreth, secretary; Richard C. Travers, Chas. E. Nixon, Ralph Bradford, Robt. R. Levy, N. F. Sawyer, Watterson Rothacker and others.
The casket containing the remains left Chicago for Cali- fornia, Mo., Sunday evening, in charge of a guard of honor, comprised of prominent officials and members of the Show- men's League of America. In that town, about sixteen years ago, Mr. Patrick met his bride, and in the quiet graveyard, where many of her forbears lie, the remains of her hus- band will be placed at rest.
Peace to his ashes and his memory!
It is only fitting that in this brief dedicatory article refer- ence should be made to the activities of Warren A. Patrick in his short life of 40 years. He had an early hankering for the circus. When only a small boy in his first pair of knee pants, he saw his first big show,, under the watchful eye of a beloved uncle, much to the disturbance of his good stepfather, who was a Methodist minister in Janesville. Wis.
Warren never forgot that experience, and, most probably, it is due to it that he joined the Ringling shows in the capac- ity of ticket seller some years afterwards. He rapidly rose to the position of chief auditor of the Ringling shows, and was considered the best in that line in America when he re- signed. About this time he was married to the woman who survives him.
Then he was offered the auditorship of the Barnum and Bailey shows and accepted; but his newly-wed wife objected to the nomadic life and Warren resigned. This led to his settlement in Chicago as the local manager of The Billboard.
In that capacity he made the biggest success of his life, as he succeeded in giving that publication a firm standing in the trade to which it appealed. No one can deny him that honor, no more than they can deny — if they know the facts as I know them — that he was very shabbily treated by the home management of that paper, after he had made it a suc- cess.
Some day T may tell the story.
Then came the ill-fated "Show World," in which Mr.
Patrick failed, after a brave struggle. After that, up to the time of his death, Mr. Patrick was western representative of the "New York Clipper."
The Olson Bill Passes Both the Senate and the House.
The Olson censorship bill, which provides for the censor- ship of moving pictures throughout the state of Illinois, was finally passed at Springfield on June 18.
The Chicago board continues, but no picture subject can be run in Chicago without having first been passed by the state censor board. Thus a double tax has been imposed on all films shown in the city:
The state board will be composed of three members, ap- pointed by Lewis G. Stevenson, secretary of state, each re- ceiving a salary of $2,500 per year. The political power back of the secretary was shown by the vote of 95 to 10, in favor of the bill, in the house.
The Olson bill provides that film companies shall pay one dollar for each reel of film shown in the state. In Chicago an additional charge of 50 cents will be made by the Chi- cago board.
The supineness and negligence shown by most of the "big film concerns in Chicago, in permitting this bill to pass, have been amazing. What was everybody's business became no- body's business until the final stroke aroused them.
It is now hoped that sufficient influence can be brought to bear on Governor Dunne so that he will veto the measure; but what can excuse the lack of interest taken in the bill, during its passage in the senate and house, by those so vitally interested?
The Jackson bill, which was passed in the house some time ago, has been defeated in the senate at Springfield. The bill prohibited the public display of any hanging, lynching or burning that would tend to race riots. It was introduced in the house by Jackson, a colored representative from Chi- cago, and was specially aimed at "The Nigger" and "The Birth of a Nation."
The "Chicago Tribune" had the following editorial con- cerning the state board of censors, in its issue of Tuesday, June 22:
The assembly has passed a bill creating a state board of moving picture censorship. The Chicago board is not affected, so patrons of the movies in this community will have their amusement sifted through two official strainers.
This leaves us in a deplorably exposed situation. There is only the extra legal national board, the state board, and the city board between our susceotible moral natures and destruc- tion. What are our other officials doing to protect us? The county commissioners surely will set up a county censorship, township trustees will create a township censorship; the ward should not ignore its responsibility, nor the precinct.
It may be Gov. Dunne is sufficient of an old-fashioned Amer- ican to believe a community like Chicago should be credited with adult intelligence and conceded the right to choose its own entertainment without the oversight of beadles. It may be he believes Americanism does not lie in the direction of the multiplication of agencies controlling the individual, oversee- ing his private life, bolstering his moralities with bureaucratic props, but in the direction still of private initiative and indi- vidual responsibility.
If he does he will veto the state censorship bill as an ill- considered expression of an unwise and un-American tendency toward bureaucracy.
The "Chicago Examiner" printed the following editorial on the state censorship bill, on June 21, under the heading, "A Bill That Needs a Veto":
Governor Dunne should veto the bill that provides for a State Board of Censors in addition to the local inspectors of moving picture films. It is an unnecessary, uri-American measure, di- rectly opposed to the principle of freedom of speech and of the press, and is the first step toward this restriction of the stage and the newspapers and magazines against which our ancestors sought to guard us.
There is no more reason for imposing excessive regulation on the moving picture than on any other means of displaying the written or spoken word. Only the immorality of a publication — and this includes the drama, film and stage, the art of paint- ing and that of writing — should be an excuse for suppressing it. If the presentation is likely to cause an increase of vice or crime, if it is offensive to morals and ethics, the law may jusrjy step in, but to submit the expression of opinion, the picturing of the dramatic moments in the country's history — as was recently attempted in Chicago — to the heavy-footed judgment of a lot of political appointees is so offensive as to be more indecent than anything the motion picture producers could possibly display.
This country got along for a century and a quarter without feeling the need of censoring its amusements or its publica- tions, except by the ordinary action of the laws against in- decency and libel. During this same period censorship, which is a peculiarly monarchial institution, was in full effect throughout Europe. Neither in licentiousness nor in reckless- ness were American institutions comparable with the censored press and stage of Europe.
The complications likely to result from' two boards of in- spection are beyond computation. The opportunity for bigotry and for blackmail are more than doubled.
A Board of Censors is going to justify its existence if it can.
It will delve for objectionable features and make the oppor- tunity to interfere.
Instead of attempting to so order its activities as to permit the greatest liberty H will inevitably see how much it can suppress.
July 3, 1915
THE MOVING PICTURE WORLD
49
The moving picture business Is a vast Industry. The fact of its newness is no reason for making special enactments for It
America does not have to be told what to see and what to think.
The Jefferson idea that the country is best governed that is least governed has not been made obsolete by the invention of the motion picture.
Governor Dunne can serve a democratic ideal by vetoing this insidious advance of the spirit of oppression.
CHICAGO FILM BREVITIES. C. W. Cook, owner of the Bijou Theater, Indianapolis, Ind., was a caller at the office last week. The Bijou seats 328 and charges an admission of five cents for three reels of the General Film Company's first run pictures. Ten cents is charged when five reels are shown, including Broadway star features. Mr. Cook stated that business is fair in his home city. He also informed me that my old friend, Mr. Zepp, for the last two years traveling represen- tative for the General Film Company's branch office in Indianapolis, died about six weeks ago. Mr. Zepp started the first moving picture theater in Indianapolis and was connected with the trade in various capacities ever since. Many will regret to hear of his death.
* * *
Anna Katherine Green, author of the world famous novel, "The Millionaire Baby," recently released as a Selig Red Seal subject, has written the following letter to the Selig Company: "I have waited till I saw your production of 'The Millionaire Baby' before writing. Last night I had that pleasure, and I have nothing but good to say of it. The acting is first class and the story clearly told. No pains have been spared, I see, to make it worthy of the superior company that has put it before the public. Please extend my thanks to Mr. Gilson Willets, the adapter, and, if possible, to the very able actors who have given the story fresh life. I am very much pleased with the production in every way."
* * *
Phil H. Solomon, well known to the trade here, is now representing the Metro Pictures Service as city solicitor. He reports good business.
* * *
C. J. Ver Halen, at one time Chicago manager for the Motion Picture News, and more recently connected with the publicity department of the Kriterion Film Service, New York City, is now in the service department of the Industrial Moving Picture Co., this city.
* * *
Fred S. Meyer, general manager of the Western Kriterion Film Service, Inc., Minneapolis, writes requesting a cor- rection in a film brevity that appeared in the issue of June 19th, where it was stated that he was in the city to secure features and to make arrangements for the opening of an office in Minneapolis for the handling of the Fulco line. Instead, he intended to convey that arrangements were contemplated to handle the complete Fulco line in the Northwest. These arrangements were made at the time.
* * *
Wm. H. Herschberg, A. G. Spencer and Barney Balaban, the owners of the General Feature Film Co., associated with George E. Powell, a well known restaurant and theatrical man, have organized and incorporated under the laws of the State of Illinois a new company that will be known as the Movie Inn., Inc., the capital being $25,000. The Movie Inn will be located at 17 N. Wabash avenue, and it is stated that on the opening night. July 1st, a banquet will be given to one hundred exhibitors and exchange men of Chicago. The week following, it is an- nounced that a banquet will be given to the Chicago Reel Fellows' Club. Mr. Spencer would like it to be known that he was the originator of the venture. The restaurant proper is on the main floor and, in connection with the mezzanine floor, will seat about 400 people. A private ban- quet room is located on the second floor.
* * *
Essanay's six-reel feature, "The White Sister," adapted from F. Marion Crawford's story, with Viola Allen and Richard C. Travers in the leading roles, was given private exhibitions in Essanay's private projection room in the First National Bank Building, Thursday and Friday, June 17 and 18, for the special benefit of exhibitors and newspaper rep- resentatives.
* * *
Samuel Goldfish, treasurer and general manager of the Jesse L. Lasky Feature Play Co., made a short stopover in the city on his way to New York from Los Angeles.
* * *
George Kleine's six-reel feature drama, "The Spendthrift." opened an indefinite run at the Ziegfeld, Saturday, June 19,
The second series of Dorsey's China pictures were given their first presentation at the Studebaker theater, Saturday, June 19th. These pictures will be succeeded on Wednes- day, by "Prohibition."
* * *
Selig's famous Red Seal release, "The Millionaire Baby, is announced as the leading number on the program at the Colonial for Monday, Tuesday and Wednesday, June 21-23
* * *
"The Sporting Duchess" has entered on its second week at the Fine Arts theater, with Ethel Clayton and Rose Coghlan in the principal roles.
* * *
"The Birth of a Nation" continues to draw record-break- ing crowds to the Illinois theater.
* * *
The feature attraction at Orchestra Hall for the current week, commencing Monday, June 21, is "The Dictator," adapted from Richard Harding Davis' famous play of ad- venture and humor. John Barrymore appears as the reck- less and generous American, who has an exciting and ad- venturous time throughout the pictures. "Rumpelstiltskin," a delightful fairy story done in pictures, was the second weekly treat given by the Strand Theater Company, at Orchestra Hall, Saturday morning, June 19.
* * *
Miss Ruth Stonehouse returned to Chicago last week from Chattanooga, Tenn., where she has been engaged with the Essanay southern company for some time past, playing the lead in "The Dignified Family," a three-reel feature.
* * *
Professor George A. Dorsey, curator of the Field Museum, who has been absent ten months on a tour of Japan, China and India, returned home last week. He was accompanied by Charles E. Kaufman, camera man, and Wm. Menke, still photographer. It is understood that Dr. Dorsey has brought home with him, in addition to many rare articles for the museum, some fine films from India, taken specially for the United Photo-Plays Co., and which will be shown in the near future at the Studebaker theater. These films show two great religious festivals in India and pageants on the Malabar coast. In southern India pictures of the greatest temples in the world were secured; also of the Madras dancing girls and of the dancing girls of the Palace of Undaipur.
* * *
Bruce Reynolds, advertising manager of the Wurlitzer Co., Cincinnati, attended the convention of the Associated Advertising Clubs of the World, held in Chicago during the week commencing Sunday, June 20. While here Mr. Reynolds and party visited the Essanay Film Manufactur- ing Co.'s plant, and through the courtesy of the manage- ment, were taken through the studios and the technical de- partments while work was under way.
* * *
By invitation of the Photoplay Magazine, this city, the delegates to the convention of the Associated Advertising Clubs of the World witnessed an exhibition of "The Birth of a Nation" at the Illinois theater, 10 o'clock, Wednesday morning, June 23.
* * *
The banquet of the Photodrama Club of Chicago, mark- ing the close of the season, proved to be a great success. Thirty-five of Chicago's leading scenario writers were pres- ent and a number of motion picture stars. In addition to a splendid program, speeches were made by Mrs. Hawthorne and Messrs. Van Patten, Walker, Jaxon, Zimmerman and Clarke. President Clarence A. Frambers spoke of the splendid progress of the club and the good it has accomp- lished, as evidenced by the fact that, with a few exceptions, the majority of the members had sold one or more scenarios, notwithstanding the fact that when they applied for mem- bership they were amateurs with little or no experience in writing scenarios. Wilmuth Merkyl of the United Photo- plays Co., made a pleasing impromptu address. Maude Moore Clement, the winner of the Edison-Mirror contest, closed the program with a musical number of her own com- position, the "Photodrama Glide," which she intends to publish. Treasurer Charles A. Buckley demonstrated that in addition to his ability in writing scenarios he is an excellent vocalist. President Frambers was then presented with a handsome token of esteem and appreciation by the members of the club. A promise of a new club next fall on a much larger scale, was made and all members pledged themselves as loyal supporters. Among the invited guests were William Lord Wright. Wilmuth Merkyl, Wiliard Case. Grace Darmond, W. E. Wing, Russell E. Smith, Frank E. Woods, Ruth Stonehouse and Richard Travers.
50
THE MOVING PICTURE WORLD
July 3, 1915
Doings at Los Angeles
THE past few weeks certainly have been full of inter- esting, exciting and sad events. The photoplay colony has not yet recovered from the shock of learn- ing of the sudden death of Elmer Booth of the Mutual, who with George Seigmaun and Tod Browning, drove into the rear end of a string of flat cars loaded with rails. The two injured men are recovering nicely now and will be out of bed in a few weeks.
* * *
The Universal National Beauties have come and gone, and caused no little flurry. After visiting the producing plant of the Big U firm they went to San Diego and then to the fair at San Francisco where they visited four days. They left on the twenty-first for their several homes.
* * *
P. A. Powers, of the Universal, left this city to rejoin the special in San Francisco, and went on east with it. Joe Brandt stayed right with the train of fair ones, returning di- rect to the New York office. Carl Laemmle went to San Diego and north, but returned here and is now looking over the western business. He will leave for the east in a few weeks. Buck Massie, who so successfully piloted the five dozen beauties through Los Angeles, went on the special to the south and north and returned here to resume duties in the publicity department of the Universal.
* * *
David W. Griffith returned this week from Chicago and will be here for some little time looking after the business of the Mutual studios.
* * *
Four big feature productions were started simultaneously this week at Inceville. They are "The Conqueror," with Willard Mack; "Matrimony," starring Julia Dean; "The Last Act." with Bessie Barriscale, and "Redeemed from Bond- age," with Forrest Winant. Thomas H. Ince is supervising the work, assisted by four of his feature producers, Reginald Barker, Scott Sidney, Walter Edwards and Charles Swick-
ard.
* * *
The "Clansman" has been closed at Clune's auditorium, after having been projected steadily for sixteen weeks, cre- ating a record which is expected to stand for some time. The new show is a mixed one and will be followed by an- other great program.
* * *
The Los Angeles school children's pageant pictures were shown successfully at the Majestic theater this week. Many tourists and. in fact, everyone who saw them was surprised.
* * *
Next week we will bid farewell to the Biograph players, who have been here for several months. Many new players will be added to the stock company and leave for New York, while some Bioplayers will stay here with other firms.
* * *
J. A. Crosby has taken charge of the laboratories at Uni- versal City, succeeding- Billy Foster who, for some time, was in charge there. Mr. Crosby is an old hand at the pic- ture game and knows the film-making business from every
angle.
* * *
Tacques Jaccard, director of J. Warren Kerrigan, was wed- ed here this week to Miss Helen Leslie. The wedding was a surprise as it was not known that the popular couple had any intention of marrying. The best wishes of the hub are extended to the happy ones.
* * *
John Sheehan. who did so well as the little politician in Carlyle Black-well's "The High Hand." has joined the Flying A forces and is now at work there. He is in the Beauty
company.
* * *
"Judith of Bethulia." although now two years old, has been showing to packed houses at the Broadway theater this week.
* * *
Out at the Keystone studios, where so many people are working on fun pictures, they have diversion in the form of swimming. The Keystone plunge is always full of fresh cool water, and at the end of a hot day's work the players all jump into bathing suits and plunge for half an hour. The other day there were about twentv filmers in, and it was fun to watch the boys and girls enjoying the water.
* * ♦
Chance Ward, who directed "Ham" comedies for Kalem in Hollywood, has left that company and is enjoying a brief vacation before he accepts another position, several having
been offered him, but he refuses to work for a few weeks. Rube Miller is now in charge of the Hamilton-Duncan forces, making screamers every week.
* * *
H. Fichtenberg, of New Orleans, was one of the shining lights when the Universal Beauty special rolled into town last week. He was right "there" and enjoyed the trip im-' mensely, returning with the bevy of beauties to the old south- land.
* * *
Frank Darien has joined the Mutual and is working in Komic pictures at that studio. The story is "Beppo the Barber" and the title role was being portrayed by Elmer Booth, who was killed in an automobile accident.
Blowing Up a Bridge at Inceville for a Scene in "The Torch of Fortune."
The Universal is establishing a new branch studio at Lake Tahoe, way up in the fastness of the California mountains. Jacques Jaccard is the director to work there first. He will have Helen Leslie, J. Warren Kerrigan and Hazel Buckham as his leads and Ben Colin as scenarioist.
* * *
House Peters, formerly with the Lasky company, has joined the N. Y. M. P. company as has Lola May and Wedg- wood Nowell, who will arrive some time this season to ap- pear in Ince features.
* * *
Cyril Maude, the English actor, is busy at the Morosco studios in a big picture. Myrtle Stedman, the charming leading woman, appears opposite. Mr. Maude is just getting used to the film stage and seems to like it quite well.
* * *
Geraldine Farrar has been transformed from a stage wo- man into a picture player. The event took place this week when Cecil B. DeMille directed her in the first scene of the big story in which she is appearing. Miss Farrar is said to be quite a good fellow at the studio. She delayed lunch until three o'clock just to finish a few scenes in a certain set, then ate lunch, insisting that everyone stop work and eat, the party having a grand time.
* * *
Sundav. June 19, the Selig Zoo is scheduled to open. The great $750,000 farm will be thrown open to the public and the animals, which are valued at $300,000, will be on exhibi- tion in the fine new buildings of the park. Selig's is to be one of the amusement show places of this city, and will be one of the permanent exhibits of the southland. It is ex- pected that many hundred people will enjoy the opening day celebration. A baby elk was born here several days aeo and named "99," after the Los Angeles lodge, which is number 99. CLARKE IRVINE.
V-L-S-E TO BUILD SEATTLE OFFICE.
To house the Seattle Branch of the V-L-S-E contracts have been let for the erection of a building at 416 Olive street.
When formal possession of this building is taken by the Seattle branch it will mark the first film exchange to ex- clusively occupy a building, especially constructed to its order.
Tom North, well known in Western film circles, is the V -L -S -E Seattle branch manager.
July 3, 1915
THE MOVING PICTURE WORLD
51
Moving- Picture Educator
Conducted by the REV. W. H. JACKSON
THE OMNIPRESENT REVOLVER. By Rev. W. H. Jackson.
IS IT a psychological phenomena that the minds of the pro- ducers seem to run at given times in similar channels? It is often surprising to notice the great similarity of ideas pervading even the various productions of the more varied types of picture film makers.
Not long ago when the love drama was being worked to its fullest possible extent, and love making seemed in the air, the engagement ring became omnipresent. The engage- ment followed so hard and fast upon the first acquaintance, and marriage, often by elopement, followed in still faster time, that "marry in haste and repent at leisure" was the ground work of nearly every production. All this seemed to be brought about because every young lover seemed to be supplied with an engagement ring ere he started out to seek his life partner, indeed, vest pockets seemed to grow engage- ment rings until the abundant supply caused their use to become a "drug" upon the love market, and after a few criticisms they passed away.
In a very similar way we are now suffering from what may be called the revolver epidemic. In a recent monthly bulletin of an eminent firm in about twelve illustrations of as many new films, the central point of the majority of them is the revolver. A New York theatre of no mean character recently showed six revolver tragedies in eight pictures. A New York paper which illustrates moving picture features in one publication showed two large quarter page illustrations in each of which the revolver was the controlling power of the scene. It must not be supposed that the omnipresent revolver always means tragedy, the humorous pictures have been caught in the epidemic.
In a recent comic a man was thrown overboard in the sea and was pictured as nearly drowned; no sooner was he rescued, however, than from his water soaked clothes he produced the omnipresent revolver. During the last few weeks the revolver has appeared in attack and defense, in robbery and in capture, in murder and in suicide, in hold-up, in hunting and, of course, in every conceivable tragedy, and in many inconceivable comedies. As it is well known that whatever a moving picture actor does, he does it correctly, it can be readily understood that at all times the use of the revolver is more professional than amateur. If a hold-up it is of true robber style, if in "gun work" it is with true Western readiness and accuracy, always and ever correct, and with the following evil results.
William Walsh, a young New Yorker of eighteen years, recently arrested for holding up at least five different trades- men and after robbing their cash boxes, making an effective "getaway," boasted before the Magistrate that he "learned the secret of gun fighting by studying the tactics of the moving picture gun fighters." This is without doubt a piece of effective educational moving picture work which was never intended, nevertheless it was there and brought its evil results. To make the matter still worse this same young man is supposed to be able to aid in clearing up a gun murder mystery.
Reviewers of moving pictures are tired of the omnipresent revolver. Since the carrying of a revolver is prohibited its appearance in pictures has increased. Probably producers thought the prohibition removed a possible evil. This, how- ever, did not make it more welcome on the screen. It has now become a common nuisance, people are tired of it, and the bad taste of its constant appearance is seriously hurting the better business. Evil under any circumstance cannot thrive beyond its first inception, its continuance is its own danger and the revolver must be relegated to its own regular and legitimate uses. A killing weapon it has killed itself, it will kill every picture in which it appears. Let the epi- demic be stayed and its omnipresence replaced by its obliv- ion; it is as dangerous on the screen to the picture as it is in the hands of the criminal to the person attacked. Let its use be, if not entirely stopped, at least brought within its own limited confines.
EDUCATIONALS FOR THE DEPARTMENT OF AGRI- CULTURE.
By Clarence L. Linz.
MOTION PICTURES are playing a prominent part in the research work of the Department of Agriculture, according to a recent statement issued by the Com- mittee on Motion Picture Activities, which declares that the work of the department in developing motion picture films has fairly passed the experimental stage in at least one im- portant particular. The motion picture laboratory is a part of the section of Illustrations of the Division of Publications. It has fully demonstrated its ability to produce educational films of a photographic excellence which easily equals the work of the best commercial motion picture photographers. Since the commencement of the work the photographers, although handicapped for nearly a year by a makeshift labor- atory and inadequate equipment, have taken and developed thirty-two complete films aggregating over 30,800 feet of valuable negative. In addition to this there are under de- velopment at the present time over 5,000 feet dealing with certain subjects either completed or now being taken as seasonal opportunity permits field work in the various stages of the films.
The laboratory was recently moved into new and espec- ially equipped quarters in the basement of the building at 1358 B Street, Southwest, and should soon be in position to produce an even greater amount of film.
Several problems yet remain to be solved before any wide outside use of the films can be made, and before any exact definition of the films as adjuncts in agricultural edu- cation can safely be formulated, states the committee, for it is realized that before any films of this character can be made fully helpful to the farmers, for whom they are primarily intended, means whereby exhibitions can be given in places where there is no electric current must be devised.
With this in view, tests are now being made of all known motion picture projectors, and the help of electrical and automobile experts is being sought in order to develop a method whereby current can be developed from an auto- mobile or other portable outfit in remote farming districts.
This investigation also includes tests of means other than electric power for generating the necessary light and in this work the War Department has placed at their dis- posal the results of tests of motion picture apparatus con- ducted by its engineers.
The application of motion picture films to education is still in its infancy. The term "educational film" as com- mercially understood is applied commonly to any subject which is not the portrayal of dramatic action. Very few of the so-called educational films, the committee declares, have been designed with a view of teaching the spectators to perform any definite process. Most of them are simply pictures of places and events and are educational in the sense that an illustrated book of travels would be placed in this class in distinction to a volume of fiction. Attention is being given, therefore, to the application of pedagogical methods of visual instruction. In snowing such subjects as the germination of seeds, or other processes which must be taken intermittently over a long period, the department is determined that the film shall be an honest scientific record of the process depicted, rather than the result of optical illusions.
The degree to which motion picture films can be made direct teachers of agricultural processes is another problem which is being investigated. Several of the films secured or made by the bureaus before the work was formally in- augurated, and a number of films since developed, have been used before audiences in various sections and careful esti- mate has been made of their value and effect. In general the lecturers who show these films report that they attract favorable attention and certainly are received with great interest by the audiences. Some of the lecturers assert that showing the films had a direct educational effect. The more
52
THE MOVING PICTURE WORLD
July 3, 1915
experienced held that the chief benefits were in attracting larger audiences, the pleasure the people derived from seeing the pictures, and the aid to complete understanding of the lecture or subject that the pictures afforded. The pictures enabled those who saw them to visualize into concrete action the otherwise abstract points of the propoganda. The pictures also served to break the ice for a more cordial recep- tion of the new ideas. Undoubtedly, the films have a value in indirect education, in stimulating general interest in the subject, and as an element in propaganda.
Many educational and philanthropic institutions and organizations and a number of commercial activities have requested the use of the department's films. Commercial motion picture companies also have become interested in securing the use of the department's subjects for general showing in public motion picture theaters throughout the country. However, because of the fact that the laboratory with its present equipment and available funds, has not yet been able to produce enough positive prints to supply the needs of the department's own lecturers, it has been unwise to undertake, for the present at least, any wide distribution
of the films. All requests from outside agencies to pur- chase, rent, or borrow department films have been refused, and such films as have had a public showing have been ex- hibited only under the direct control of one of the depart- ment's representatives. In all probability, additional legis- lation would be necessary before the department could suc- cessfully undertake co-operation of this character without very heavy expenditures of Federal funds. Under present conditions any money received from the sale of films must be turned back into the treasury, and the department ac- cordingly would be forced to deplete its own special photo- graphic appropriations.
To meet the many requests for private showing of the many films, the period after two o'clock each Friday after- noon is devoted to such exhibitions. In fact, the laboratory has been beset with these requests but it is impossible to grant them at other times because of the fact that it is necessary to use the projecting room for assembling films, preparing titles, and similar work, and such exhibitions have a tendency to interfere with and delay the work of pro- duction.
A GOOD WORKING LIST. By G. D. Crain, Jr.
THE fact that Louisville was the birthplace of the movement whereby moving pictures for children, or special children's moving pictures, which has since spread all over the country, has placed that city at the head of the movement, and proprietors of picture houses in vari- ous sections of the country have repeatedly requested sug- gestions concerning film service, films that have been shown, and films which the local Board of Moving Picture Censors for Children's Motion Picture Shows, had already seen and approved of.
During the past few weeks the number of these inquiries has increased so rapidly that Mrs. Frederick Levy, chair-
man of the board, deemed it a wise move to compile a complete list of the titles shown at the Mary Anderson theater where the first show was given on October 10, 1914, and the last show of the season on June 12, 1915. These children's shows have been discontinued until school "takes up" again, when it is hoped that another good selection of special children's pictures will have been made available for use in the theater.
A study of the list of films shown will reveal the good work done by the local board in maintaining the shows at a high degree of desirability, and selecting educational and instructive pictures. This list, which should prove of con- siderable value in aiding other exhibitors in the selection of educationals, is as follows:
ALCO.
Little Lord Fauntleroy (5 parts). ECLIPSE.
Automatic Moving Company.
Burglars Funny Reception A.
How a Letter Travels.
Palaces and Fountains of Versailles.
Winter In the Alps. EDISON.
At Home In the Water.
Battle of Bunker Hill.
Birds of the Southern Sea Coast.
Birth of the Star Spangled Banner.
Boy Rangers The.
Buster Brown On Goats.
By Parcel Post.
Calcutta Views.
City of Washington, D. C.
Dangers of the Street.
Declaration of Independence The.
Hiram Buys an Auto.
How Motion Pictures are Made.
How Washington Crossed the Delaware.
Janitor's Flirtation The.
Log Rolling in Maine.
Making of a Newspaper.
Ostrich Farming.
Paul Revere's Ride (2 parts).
Pied Piper of Hamlin.
Short Life But a Merry One.
Ten Days With the U. S. Fleet.
Tillie's Bird Farm.
Tramp and the Scarecrow The.
Westminister Kennel Show.
Winter in Central Park.
Yellowstone Park.* ESSANAT.
China and the Chinese.
Little Red Riding Hood.
Three Bears The.
Wild Animals in Captivity. KALEM.
Molly Pitcher.
Visiting Palm Beach.
Washington at Valley Forge. KEYSTONE.
Little Billv's Strategy.
Little Billv's Triumph.
Water Dog The. LUBIN.
Baseball Industry.
Dream of a Circus.
Little Breeches.
MATTHEWS.
Snow White (3 parts). PATHE EXCHANGE, INC.
Acrobatic Performers.
Acrobatic Stars.
Ant Lion.
At the Zoo.
Beautiful Gorges of Tarn.
Boy Scout Farm.
Butterfly The.
Carrier Pigeons.
Catching Cod Fish.
Chateaux of France.
Christmas Since the Birth of Christ.
Chrysanthemums.
Cormorant The.
Cuckoo The.
Day In the German Navy A.
Edible Fish of Mediterranean.
Evolution of Silk Worm.
Friend of Birds The.
Geysers of New Zealand.
Grafters The.
Gulf of Rouas, Spain.
Harlequin's Story (2 parts).
How a Blossom Opens.
How Mountains Grow.
How Plaster is Made.
Insects that Mimic.
Japanese Artisans.
Jerba The.
Joan of Arc (2 parts).
Legend of the Stars.
London's Coney Island.
National Park.
Niagara Falls in Winter Dress.
Picturesque Quercy.
Pitcher Plant The.
Plants Which Eat.
Police Dog The.
Runaway Leopard The.
Scenes in Egypt.
Scenes in Norway.
Sea Anemones.
Sedge Warbler The.
Story of a Tyoewriter.
Straw Hat Industry.
Studies in Fish Life.
Study of Birds.
Study of Kittens A.
Submarine Maneuvers.
Submarine Mysteries.
Sweedish Submarine Maneuvers.
Three Kittens The.
Tit-Mouse Tne.
Trip to Madeira.
Turmite, Insect Architect The.
Visit to the Zoo A.
Well Washed House A.
Wiesbaden.
Wild Birds.
Wild Birds at Home.
Winter Sports at St. Moritz.
Wonders of the Alpines.
Wood Carving and Decorating. SELIG.
Deaf-Blind Wonder The.
Doc Yak's Christmas.
Life of Winnebago Indians.
Life With a Circus.
Lipton Cup The.
Right and the Wrong Way The.
Story of Columbus The (3 parts).
With the Boys of Figure Two.
Wreck of the Bega The. THANHOUSER.
Baseball Player's Dream A.
Heart of a Child The.
Jack and the Beanstalk.
Joseph In Egypt (4 parts). UNIVERSAL.
Robinson Crusoe (3 parts).
Scenes in Rome. VAUDEVILLE FILM CORPORATION.
Around the WTorld. VA. FILM CORPORATION.
Danish Dragoons.
Krimmel Water Falls.
Monkey Land.
Regatta Day.
Storm at Sea. VITAGRAPn.
Boy Scouts The.
Coffin's Aeroplane.
Pigs Is Pigs.
Wild Beasts at Large. WARNER'S FEATIRES.
Alaadin and His Lamp.
For the neart of a Princess.
Hansel and Gretei.
Lady of the l^ake (3 parts).
kittle Shepherd The '2 parts).
Sleepin°- Beautv The (3 parts). WORLD FILM CORPORATION.
Fairy and the Waif (5 parts).
SYD CHAPLIN RECOVERED.
Syd Chaplin has practically recovered from the illness which compelled him to rest quietly at home for a week. His illness was brought about by a fall while working among the rocks of a mountain torrent at Mount Baldy, some time ago.
BILLY SHEER GOES ON ROAD.
Billy Sheer, of the Keystone, is leaving for New York City this week, where he will become assistant manager of a road show during the coming season. Billy has made him- self very popular and Baron Long is not the only one who hates to see him go.
July 3, 1915
THE MOVING PICTURE WORLD
53
Music for the Picture
Conducted by CLARENCE E, SINN
M.
"The Lily of Poverty Flat." WINKLER, of Brooklyn, N. Y., who has favored us before, sends in a copy of his musical accom- paniment to the five reel picture named above.
PART I. — "Raraona" (Indian Intermezzo, by Johnson).
"Morning on the Plains" (by Wheelock).
"Agitato" (M. L. Lake; play this until end of reel). PART II. — "Wild Rosebud" (Tobani. Play until: "Arrival at Pov- erty Flat.").
"Garden of Love" (Caprice, by Ascher).
"Venetia — a Spring Song" (Tobani. Play until end of reel.). PART III. — "Laughing Water — Intermezzo" (by Losey).
"A Little Story" (Zimmerman).
"Noveletta" (by Ambrosio. Play until end of reel.). PART IV. — "Melody of Peace" (Martin).
"Berceuse" (lljinski).
"Hurry — No. 1" (M. L. Lake. Play until end of reel.). PART V. — "Sweet Jasmine" — Novelette (Bendix).
"Ramona" — Intermezzo (Johnson).
"Bright Star of Hope" (Robaudi. Until end of reel.).
More Than Seven.
Mr. Earl S. Rogers, Majestic Theater, Paris, 111., says: "Have been a constant reader of the Moving Picture World for years, and never miss reading your suggestions in the mu- sical department. I have been playing pictures for over seven years, piano and drums, Style K. Wurlitzer and orchestra di- rector. I find that either a Wurlitzer or a piano alone is the most satisfactory for playing descriptive music for pictures. Of course, we can arrange music so that it will almost follow the picture, but when an orchestra is used it is very dif- ficult to follow the expression and action unless the director is not playing an instrument, but simply directs his instru- mentalists in crescendo, accel, ritard, etc." (I think it de- pends a great deal on what kind of an orchestra you have and how they have been trained. I know of many leaders who watch the pictures and direct the orchestra and also play an instrument — violin or piano. But they must follow their leader; not be dragged or pushed. — Ed.) Mr. Rogers continues:
"Music can easily be made to fit the scene, but if the ex- pression is followed invariably as marked in the music it may often be exactly the opposite to the action. I agree with Miss Currier of Barton, Vt., in that the musician may be greatly assisted by studying the characters; also what she says regarding modulations and change of tempo. I find that the use of these will detract less if played p. or pp. and when fully modulated accelerate or crescendo as the scene demands. In hurries, mysterious passages, etc., keep below the action of the picture, and as the action becomes stronger rise with it, but never above it, or you will attract the at- tention away from the picture, and lose in a moment what you have been trying for an hour to gain. Watch the atti- tude of the audience and see if they are following the picture closely. If they seem restless, change the tempo of your music or use another theme or passage. Of course in comedies use popular songs, rags, etc., and when you can play some old song and get a laugh, do so. But burlesque your comedies and in this way give your audience a change, and variety is necessary if you would please your audience."
Mr. Rogers is right about keeping the music subdued, under the action as he terms it. It is much more readily humored to fit the action when kept down and unobtrusive. When your music is loud it becomes conspicuous, insistent, it compels attention to itself; then any change of time or figure or key, any modulation or change of expression is noticed by the auditor because you have been forcing your music on his attention; you have made it predominant in- stead of sub-dominant to the picture. Don't think the oper- ator is there to illustrate your music. You are merely sup- posed to accompany the pictures.
Hidden Music. Burr Delmar Nickle, proprietor of Delmar Theater, Me- dina, N. Y., says:
"I have a big house and have turned it into pictures mostly, and got an original idea that by setting my stage with a parlor scene (which has an old colonial window) and hiding
my pianist at the side of the stage so she could see the screen through this old window, has proven many things. First, her mind is on the picture and not disturbed by any of the audience. Second, the people have their eyes on the picture at all times and not on the piano player. I have heard much favorable comment on this and it really appeals to the public greatly. I have good music, pay a high price for it and in doing so I find I can do away with an orchestra. I installed a pipe organ and placed it out of sight also and am so well pleased with results that I have come to the con- clusion that all music should be hidden when playing for pictures."
Mr. Nickle has the right idea. Music should never be conspicuous.
Some managers think that when they pay an artist to play for them they must turn a spot light on said artist while he plays solos, so the public will realize what a lot it is getting for its money. Some musicians are equally anxious to get the spot light. Both may possess a keen desire to give the public a good show, though not necessarily a good pic- ture show. They are concentrating on something aside from the picture instead of concentrating on things to boost the picture. Good music is an added attraction certainly. Sand- wiches and coffee passed around in the audience might also be an added attraction, if they were good. But it isn't neces- sary that every dollar you spend should shine. Pay for good music but let it accompany your pictures, that is, if you are running a picture theater.
"The Hypocrites." Dick Bertram, musical director Palace Theater orchestra (pianist), Burlington, la., sends musical program for above mentioned picture. Mr. Bertram says: "This program was played with four pieces, violin, piano, cornet and drums, and with this instrumentation proved very effective. In addition to favorable comment by the public the newspapers gave us more space than that alotted to the picure itself; when a newspaper gives something for nothing there must be a reason. No doubt a more effective program could be lined up for a larger instrumentation, but for the instruments mentioned I think my program is hard to beat."
FIRST REEL. At Opening. — Tacet. When Monk stricken blind at sight of truth :
1. La Fontaine Idylle (Lysberg — arranged by Hildreth). Play once through.
2. At title : "People Gathered as on Fete Day." "Stabat Mater," by Rossini. Play until end of reel and work up to climax — unveiling of statue.
3. Open reel with Dorn's Fantasie on "II Trovatore" (piano ar- rangement). Use fourth movement of this number alternately in major and minor. Use piano only until ready to work attack on Gabriel, then bring in rest of orchestra.
4. (Gabriel stabbed.) Start on "Miserere" (same number as above) and play until finish of piece. Use cornet and violin on this.
5. At title : "Gates of Truth," play "Within the Gates" (sacred song pub. by Remick) as a cornet solo, once through.
6. As choir passes out. use organ. If no organ, I would suggest leaving the scene silent.
7. (After last of congregation has left church.) "0 Salutaris Hostia," by John Wiegand. (Use arrangement in C, which is duet for soprano and alto. Violin carries soprano, cornet the alto. Once through and stop.)
8. Priest dies. Start at duet movement of "Salutaris" and play finish softly. Wait until title : "Broad Roar or Narrow Way."
9. Play "Pilgrim's Chorus" (not march) from "Tannhauser." in G. violin and piano, once through as written, then D. C, play- ing first 10 bars an octavo lower, then finish strain loco.
10. At title: "Truth Is Ever Elusive," play Cbaminade's "Scarf Dance" (caprice style) once through, making repeats as written.
11. At Gate Scene, first strain of "Within the Gates."
12. Start Reel IV. with Hildreth's arrangement of "Lost Chord (pub. by Jacobs) twice through, regardless of the dancing, and u(. fitrnduction first time only.
13 A,. ..tie: "Modesty," play "Heart's Sorrow" (piano solo), re- gardless of dancing, until Gabriel and Truth pass through gates. 14. Women discover Gabriel dead. Start at duet of "Salutaris' and play to finish. You will notice that Mr. Bertram doesn't believe in con- tinuous music, but has left several pauses between numbers in the above program. Such pauses can be made very effec- tive if their reason for being lies in the action of the story and not simply because the musician has reached the end of
54
THE MOVING PICTURE WORLD
July 3, 1915
the number and don't want to go back. No. 6 in above pro- gram is an illustration of a logical silence. Mr. Bertram evi- dently likes to keep his music rather subdued for which he deserves credit. There is nothing blatant about that pro- gram. To my mind there is a hint that he likes to finish some of his numbers diminuendo to pianissimo, and stop un- perceptibly. This covers up the "stall" considerably when it is made for other than dramatic reasons.
What Do You Mean, "Pupil?" This is a part of a letter sent to Mr. Sargent and passed on to me: "I should like to enlist your influence to prevent other sins such as we had to suffer from a misguided pupil(?) of perhaps your co-worker Clarence E. Sinn. This happened in one of the better class Los Angeles picture houses where they run the same film for a week. It was at the close of that remarkably fine production, 'On the Night Stage,' after Texas has removed forever the scandal menace from the life of the woman he loved and lost, and then is told unwittingly by the 'sky pilot' that he was a tribulation to the authorities and a nuisance to the community. He crossed to his horse, laid his cheek against that of his dumb pal and said in a leader: 'I have nobody in the world but you. Midnight; no- body but you.' The organist then 'holed out' with a beauti- ful 'put' by playing the chorus, T Need Sympathy' at a time when silence was golden. J. D. P."
Well, the organist lacks the sense of proportion along with other sense. What's the use of saying any more? No ise. He'll do it again anyhow the first chance he gets.
Past Performances
IN racetrack parlance the kell known addage, "blood will tell," is quoted frequently in speaking of thoroughbreds. This also obtains in theatrical circles and in the silent drama branch, as exemplified in the Rising generation.
Phil Rising and Will S. Rising Jr., are chips off the old block, and judging from a program sent in from The Flat- bush A. C. they are following in father's footsteps, as the well known actor-singer, Will S. Rising (Dean of M. P. Actors and Producers) is their dad.
Both sons are talented and possess good singing voices, and participate in many operas, dramas and comedies in the social life of the Cortelyou Club. They seem to be especially strong on minstrelsy, as per programme of B. P. O. Elks of Brooklyn Lodge No. 22.
Recently the minstrel show staged by Phil Rising for The Flatbush Baseball Club at Cortelyou Club was a tre- mendous success.
Another aphorism again creeps in, from "sire to son," as the mantle falls on them through their pop's varied career, for at one stage of his popularity he was a member of "The Moore and Burgess Minstrels" at St. James Hall in London.
Phil and Will are both of military training (ex-members
The Rising Generation. Phil. Rising, Will S. Rising, Will S. Rising, Jr.
of Seventh N. Y. N. G.), and Will Jr., is one of the crack buglers of the First Regimental Cavalry, Troop L. Both are football and baseball experts of Flatbush A. C.
On the maternal side their grandfather was Hon. Wm. C. Conner of Conner's Type Foundry, New York City, founded in 1828. On the paternal side their grandfather was Philip Rising of Lancaster, Ohio, a veteran of the Mexican War,
and friend and neighbor of General William T. Sherman and General Phil Sheridan. Prior to his death he bought and gave to the city of Lancaster, O., "Standing Stone," or 'Mount Pleasant," famed in Indian legends in the early days of Ohio, as the rendezvous for the Indian tribes of the East and West as they were driven westward by the encroach- ments of the palefaces.
The novel, "Forest Rose," was written around incidents connected with "Standing Stone," and was produced by the late C. J. Hite as a feature reel for the Thanhouser Co. It was here that the Indian tribes met and arranged for the battle which culminated in Braddock's defeat when George Washington was in command of a detachment of Virginia militia. "Standing Stone" was purchased by the philanthropic pioneer, Philip Rising, at a cost of $25,000, and donated to the "city he loved so well."
Ben Wilson (of Universal) and Geo. Botsford (Remick) are connected by marriage to Phil Rising.
Charles Bennett
ONE of the oldest of the West Coast photoplayers is returning to the East with the Biograph Company. It is nearly four years since Charles Bennett has worked before the camera in the East, he having come to California with the original Vitagraph Company in 1911. It was two years before that that Mr. Bennett left the stage and after in turn working with the Essanay, Vitagraph and Edison, joined the Vitagraph shortly before the organization of the
Western company. He remained with Director Rollin Sturgeon for almost three years. In the first year he was in practically every cast, in characters, in heavy roles and all around in- terpretation.
Mr. Bennett was with Keystone for five months. While there he appeared in "Tillie's Punctured Romance." He will be remembered as the uncle who fell down the mountainside in the snow, as well as for other adventures and misadventures in the course of that strik- ing comedy. It was for the snow scenes that Mr. Bennett took a number of players to the summit of Mount Baldy, camping for nearly a week near the top. During his stay with the Keystone Mr. Bennett was working most of the time with Charles Chaplin. Since February Mr. Bennett has been at the Biograph studio. He will be seen in the forthcoming production of "Under Two Flags," in the role of the com- mander of the French soldiers.
Mr. Bennett's first engagement on the stage was with Edwin Booth, under the management of J. H. McVicker, Booth's father-in-law, at the Lyceum Theater, now the Four- teenth Street, in New York City. His next engagement was with the Broadway Theater stock company in support of Charles Fechter, the great romantic actor. Mr. Bennett has played with Clara Morris, Frederick Warde, Mary Ander- son, Willie Collier and John Drew among others. He has at times worked under Dion Boucicault, A. M. Palmer and Augustin Daly, as he describes them, "America's greatest stage directors." Mr. Bennett has been associated with practically all of the great stars of the last generation. He has an impressive stage presence and a most pleasant per- sonality. He also possesses a fine speaking voice, which, of course, the screen does not reveal. Mr. Bennett will make a strong addition to the Biograph stock company.
Charles Bennett.
HEWITT ASSISTS JOHNSTONE. Earl R. Hewett, who has been on the scenario staff of the western Universal plant, has been made assistant to Calder Johnstone, manager of that department.
July 3, 1915
THE MOVING PICTURE WORLD
55
OBSERVATIONS
BY OUR MAN ABOUT TOWN.
STORIES are frequently told of the reunion of long separated friends and relatives by motion pictures. The newspapers quite often tell of how a mother or sister in New York, through seeing the face of her son, daughter, brother, or sister, upon the screen in a motion picture the- ater, located the relative in some far distant city. We have yet to learn that the pictures have been of equal value in aiding wives to locate recreant husbands and the absence of such reports has been responsible for many looking upon the other stories with a belief that they are part of press agents' work to attract attention of the public to the pictures. However, it is a certainty that motion pictures have been instrumental in bringing about many reunions. One of the most interesting of recent cases, although the screen did not play a part in it, was the meeting of Capt. Jack Craw- ford, known as the poet-scout, and Leonard Grover, Sr., one of the oldest survivors in the American theatrical profession. The latter has been doing picture work occasionally for several years. Capt. Crawford only recently turned his at- tention to that field. In fact, he did not visit a motion picture studio until a few weeks ago. He has now become enthusiastic over the work and will soon be prominent in pictures. "If opportunity affords," he said the other day, "I think I will spend most of my remaining days in motion
picture studios."
* * *
Reverting to the meeting, Capt. Jack, as he is better known, was making a sightseeing tour of a studio when a mutual friend introduced Mr. Grover to him. The intro- duction brought an expression of mingled surprise and pleasure to the old scout's face as he looked Mr. Grover over with critical eyes. For a few moments he stood speechless, retaining a firm grip of Mr. Grover's hand. The latter seemed in doubt as to how he should look upon the reception. "Pardon me," the poet-scout said finally, "but are you the Leonard Grover who managed a theater in Philadelphia years ago? Years have whitened your hair, wrinkled your face and bent your form, but the name is strikingly familiar." When Mr. Grover got a chance to make reply, he said: "So much time has elapsed that I had quite forgotten. Now that you mention it, I recall that I did manage the Chestnut Street theater. When, I cannot remember." Throwing his arms about Mr. Grover and giv- ing him a most hearty embrace, Capt. Jack exclaimed, "God bless you, Grover! This meeting is indeed a pleasure to me. I'll tell you a story and refresh your recollection."
* * *
This is the story: "In 1863 I was on the Union side in the Civil War and was wounded at Spottsylvania. They took me to a hospital in Philadelphia. Upon my discharge I left the hospital on crutches and started on a tour of the city. One of the places that attracted my attention was your theater, although at the time I did not know it was such. I thought it was some meeting place, or public in- stitution like Independence Hall. I hobbled into the lobby and was about to pass through the entrance to the audi- torium when a man standing there stopped me and asked if I had a pass or a ticket. I cannot recall the conversa- tion that followed, but I remember that you came from where you had been standing in the lobby and asked me who I was. Noticing my uniform and the crutches, you became interested in me, and after hearing my story invited me in to see the play. I asked what kind of a place it was and you replied that it was a theater. I retreated as well as my crutches would allow and said. 'A theater! No. no, my mother always warned me against such places. I have been taught that they are institutions of the devil. I have made a mistake. I dare not go in.' You took hold of my arm in a friendly manner and eventually overcame my scruples. You led the way into the theater and personally conducted me down the aisle to one of the best seats in the house. I remember my appearance, as that of all crip- pled soldiers in those days, attracted considerable atten- tion. I am inclined to think, too. that your solicitude for my welfare may have had something to do with it. Do you remember what the play was? You don't? I do. It was 'Aladdin and His Wonderful Lamp.' Effie Germon had the leading role. I never forgot one of the songs she sang. It is my favorite in tune and sentiment to this day. It was 'Beautiful Dreamer.' I think I must have made myself ap-
pear foolish in displaying my enthusiasm over that show. I was seventeen years old at that time, Grover; I am now sixty-nine. Just think of it! After a lapse of fifty-two years we meet again for the first time, yet both of us have been in the theatrical field for years."
* * *
"There is a sequel to my story, Grover. A few weeks ago I gave some of my recitations at a benefit held in the Actors' Home on Staten Island. I also told the dear old people there some of the incidents of my life and, singularly as it may seem, I told them the same story I have just told you. My object in doing so was to tell of the false impression I had of theaters in my early life and I told them that in view of the attitude of many people towards motion picture theaters, which they have never visited, it is not surprising that I, a boy, should be so impressed. I also spoke of Effie Germon and 'Beautiful Dreamer.' As I finished my last recitation and was leaving the platform a dear old lady met me in the aisle, threw her arms about me and wept as she rested her head upon my shoulder. It was Effie Germon, the 'Beautiful Dreamer' of my boyhood. And now, Grover, I meet you. I have been a staunch admirer of the screen pictures; I hope to become an enthusiastic worker in their production, and I shall never be able to adequately express my gratitude to them, in that it was through their agency that I have been permitted to again meet one who was so kind to me in one of the darkest periods of my life. Oh, say, Grover, I forgot one thing for which I again thank you; although I had few opportunities to use it, as I re-entered the war. As I left the theater you handed me a pass for the season." As the poet-scout who bears such a striking resemblance to Buffalo Bill in facial features and build started away, he again embraced Mr. Grover with unmis- takable affection.
* * *
By the- way, despite the fact that he is on the border of three score and ten in years, Capt. Jack can kick several inches above his head and can place the palms of both hands, not the tips of his fingers, upon the floor without the slight- est bending of his knees. He is a remarkably well preserved man. He appeared in a Vitagraph production lately. It was a patriotic subject and the poet-scout was given latitude for expression of his patriotism. Standing with the national colors at his side he made a strikingly beautiful picture. Capt. Jack took occasion to criticise the song "I Did Not Raise My Boy to Be a Soldier." He declared that such sentiments aroused his indignation to a point that made his blood boil. "No mother, with a love of country in her heart, ever made such an expression," he said. "My mother loved me and raised me to be a man. When my country's call came, like all patriotic mothers, she let me become a sol- dier. To offset any effect the song I refer to may have I have composed one with the title, "My Mother Raised Me to Be a Soldier," and I intend to give it the widest pub- licity. I thank God that the moving pictures have given me an opportunity to start this ball of mine rolling. War is hell. I know it. I hope this country may always be able to avoid it, but dread of it must not be allowed to eat into the vitals of patriotism."
WORLD FILM ACTIVITIES.
Five of the greatest directors in the world are simultane- ously working at World Film studios, Fort Lee, N. J., and elsewhere on five great productions which will shortly be seen on the screen. Maurice Tourneur is making "The Cub;" Albert Capellani, "The Imposter;" James Young, "Marrying Money;" Emile Chautard, "The Little Dutch Girl;" and Frank Crane, "The Stolen Voice."
Clara Kimball Young, Jose Collins, Vivian Martin, Rob- ert Warwick, Martha Hedman, John Hines, Alec B. Francis, and Chester Barnett are the principal stars working in these pictures.
NAT C. GOODWIN IN "THE MASTER HAND."
Nat C. Goodwin has again succumbed to the picture, and will be starred in the Premo Film Corporation production of "The Master Hand," of which the production is already under way.
Assisting Mr. Goodwin in the cast are Claude Flemming, Theodore Babcock, Florence Malone and Catherine Lee.
STANTON DIRECTING A DETECTIVE STORY.
Richard Stanton is putting on a mysterious detective story, this week, at the studios of the New York Motion Picture Corporation. It is entitled "The Hammer" and has to do with the exoneration of a young illustrator, who is suspected of being guilty of a crime he did not commit. The scenario is by J. G. Hawks.
56
THE MOVING PICTURE WORLD
July 3, 1915
Advertising for Exhibitors
Conducted by EPES WINTHROP SARGENT
Booming a Special.
OVER here the Universal Company did a lot of extra work to help the Exhibitor realize "The Master Key" but George U. Stev- enson, who used to run the Universal Weekly, but who is now in London for the company, built up on the original layout. Over in England the sales managers expect to give the Exhibitor more assist- ance. For years B. Nichols has been getting out specialties and others followed suit, but Mr. Stevenson has been doing some tall hustling for the Key. Of course the stamp books were used, and these were more popular there because the advertising stamp craze has not yet hit this country very hard. In addition they sold scarf pins and brooches in "gold" showing the master key ; costing but three cents each and there were Master Key bracelets, which opened with a key, the girl getting the bracelet and the man the key on a souvenir night. There were celluloid buttons for the kiddies and paper key cut outs for straight advertising ; puzzles, to be used in connection with prizes, free lantern slides, all sorts of cuts and suggested advertisements. It is about the most comprehensive layout of advertising that has been shown and proves that Mr. Stevenson is very much on the job, for he has added to the matter supplied from here just those features that the English market demands. That's the reason some men fail and others succeed when they open up a foreign market. Some work the home way and others adapt themselves. Mr. Stevenson even says that the "blocks" or "pierced," instead of mortised and offers a "bit" of copy.
An Intermittent.
The Jamestown (Ohio) Opera House sends in a one page sheet published occasionally. Manager Galvin writes that it is their first attempt gotten up in three hours, adding that "it may look like five minutes to you, sitting at a New York desk." It is "published occas- ionally," but Mr. Galvin seems to think he is going to get it out weekly.
Jamestown boasts only 1,100 population, but the first announcement is that of Lyman Howe and at the Lyman Howe prices. Did it ever occur to you that if Mr. Howe can get fifty cents for educational stuff that even in a small town a feature might be worth a quarter? But getting back to the opera house, the sheet is an eight by ten, three column affair printed on one side in semblance of a newspaper. It is all straight run eight point, a short chat about the house affairs with no dispiay matter. It sounds the right note of friendliness and it will do the house more good, particularly as it seems to be a new venture in an old establishment, slightly run down, than would three times as much big type stuff. It is a good start and continued along the same lines should, in time, grow into a two or even a four pager and make some money through trade advertisements. This house chat stuff makes more friends than brag and boast in a small town.
On the Cards.
The Third Street theater, Easton, Pa., explains that their black envelope recently commented upon in the department was to adver- tise the film of the same title. Just to prove that they have not quit work they send in four cards, three of them for "Who Pays" and an- other for another attraction. One is simply a large question mark and four circular cuts, giving also house, day and date. A third shows the devil playing on a malformed saxehorn. It is evident that they are keeping at it, which is the only way to do. The sister house in South Bethlehem seems to stick closely to posters and their well de- vised program.
A. V. P. Folder.
Joseph Forster, of the Globe theater, Brooklyn, sends in an eight-page folder, 2'4 by 5 inches. The front carries rather too much copy. It looks crowded and uncomfortable. It would be better to take some of the information over to the inside pages, as the front is too small to carry all adequately. Inside it is full, but not overcrowded, and there is a good proportion of small type to the large. It is not all display, and the types are not the culls of the bell-box. The best line comes in the house announcement and runs :
We do not offer Prizes in money or any other so-called Premiums as an inducement (or you to pay your money at the Box-Office — We offer Prizes in sound Dramatic principle and interest unflagging. The money that might have been spent upon Prizes (that nobody gets) has been put on productions and so EVERYBODY WINS. It would be a good idea to underline the dated days with two point rule, to throw these up. Mostly they rise to the top of a page, but some do not, and all would look better if given this slight prominence. It is a useful little issue, but then Mr. Forster writes that he has been a student of this department and that means not merely a reader.
Both Sides Work.
"Value for both sides of your dime," is the slogan of the Princess theater, Orange, Texas, and "Prinsessize your idle moments" is an- other creation of Arthur Kent Watson, the advertising manager. Both are useful and can be adapted by others. He must have hit a snag,
though, when he announced "That inevitable funniest of funny men." Mr. Chaplin seems to be inevitable these days, but we'll bet Mr. Watson meant to write "inimitable." He calls attention to the first of a series of "Common Sense Stuff." the first of which we reproduce.
Say, Bo ! we feel like we are not treating you right without telling you you can get an hour of solid enjoyment down at the cozy Princess theater every afternoon. Pa and Ma, Johnny and Mary are always welcome at our show. The man with the honest corns on his hands can while away an extremely pleasant hour, get a good rest up and profit by a little visit. YOU are just as welcome as anybody. There is nothing in the world to keep you away. Our pictures are always GOOD pictures. Our music is always GOOD music. Our breezes are always COOL breezes, and you don't have to hunt for them.
Life is not life without the movies. We give you a chance to exercise your emotions. A good hearty laugh is the Lord's own medicine, and to weep at times comes in mighty handy. Our pictures afford both. The price is cheap as dirt and the pictures are as good as gold. That "Say, Bo " is out of place. It is intended to start off the para- graph breezily and give an air of intimacy to the whole, but it is too cheap. The two words could have been dropped without hurt. It is to be questioned whether the allusion to the man with the corns is going to tickle him to the point of spending his dime. It sounds as though he was told : "You are apt to wear old clothes and smell of the livery stable, and perhaps you are ashamed to come to a nice place, but we don't mind, come along." And he is apt to remark he'll be durned if he'll come where he is permitted to enter as a favor. It sounds genial and welcoming if you read it in a hurry, but it will not sound that way to the man who is being reached after, and to others it may carry the suggestion that the audience is too miscellaneous. This personality stuff is apt to be loaded at both ends and should be handled with ex- treme care. It is very easy to give unintended offense. Some of the lines on the bills are much better. Mr. Watson confesses to being new on the job and we imagine that he will make good when he has learned a few more of the kinks, but if he ever again sends in a bill printed in yellow on white paper, we are going to advise him to shoot the printer. A throwaway should stand out. This does not.
From the Start.
The Strand theater, Fostoria, Ohio, sends in its first program issue with a request for suggestions. The only suggestion we can make that will count for much is that others who want a really pretty program will do well to beg a copy from M. A. Humble, the advertising manager.
It is in silk green on a light green stock, but the color will be changed with each issue to mark a distinction. The size is about four by six and three-quarters and the front is printed from a plate. This seems to be the case with the back, unless they have found a new type. It will please the Projection Department to know that the badge of the A. A. T. S. E. is run as a part of the decoration with the words "union operator."
Within the arrangement is very simple. After the heading the pro- gram runs for two weeks, day, date and title in twelve point bold italic and from three to five lines of description in eight point Roman. It Is full to overflowing with type, yet the simplicity of the arrangement leaves it easy to read and inviting instead of repellant. It might be well to run the players in italic and run more names, but apart from this the form is too good to he changed.
We're for Mr. Russell.
Fletcher Russell, of the Windsor theater, Hampton, Iowa, sends this breezy note :
I am enclosing my first herald. My printer says he ought to kill me for my bad spelling, and I tell him that my spelling is no worse than his composition, and to prove that my contention was correct, I am going to send you a copy for your opinion.
I know you will balk at the Old English headline, but he thinks it is great for titles and the average man takes so much time figuring out what it spells that he can generally recognize it at a glance the next time he may see it. Spare neither of us. Go to it. If the printer didn't like the spelling, he might have changed to a more accepted style, it would seem, and that is hardly an excuse for the way he lays his type, though Mr. Russell is partly to blame. For ex- ample, he sets a cut of Miss Pickford into a paragraph. He does not supply enough copy to go around the cut and naturally the stuff is double leaded and looks like what the printer probably said. When you run in a cut be certain that you supply enough copy to go around the cut. We are for Mr. Russell, but it would be a good plan for him to have a nice long talk with the printer and establish a modus vivendl, or something or other, that will bring about a better understanding. There are some things that printers cannot do. As a compromise, Mr. Russell should write more copy and then plan with the printer for a better display.
July 3, 1915
THE MOVING PICTURE WORLD
57
When Picture Theater Advertising is ready Mr. Russell can study up on the printer's end of it and argue on his own ground. Meantime we would recommend a smaller body type, two columns to the page, display advertising for the house and enough foreign advertising to pay the cost of the additional composition. In his letter Mr. Russell speaks of bad composition when he means that the type is badly laid out. Com- position is the setting of the type ; not the display of faces.
Mr. Russell may not knew it, but he can write stuff of the sort that has character. No paste pot and shears for him. Look at this copy for the Hoosier Schoolmaster, after a formal introduction of Max Figman and the play :
The production of the film version is thoroughly in keeping with the greatness of the subject, and the genial Max makes an ideal Hoosier. He has just the right kind of a nose for a Hoosier. Notice it in this picture. All Hoosiers have char- acteristic noses, and as Max was born in Indiana he can't help it. If you ever think about it at all, you would know him the minute you saw it. But, casting the nose aside (an uncom- fortable thing to do) Max's genial smile will be seen here next Monday at the Windsor. Don't miss it. Then take this about Carlyle Blackwell :
You will all notice that Carlyle chooses leading ladies with raven locks to play opposite himself. His own hair is black, and according to all laws of psychology he should choose a light-haired maiden for a partner; but he has his own opinion about light-haired women. I believe he is scared of them, and in proof of this I have noticed that all the blondes seem to be partial to Carlyle and take particular pains to be here when he appears upon the screen, so to make it real easy to see him in "The Key to Yesterday." Then notice this automobile copy :
After we limber up the springs of the auto in the spring of the year and riding without a destination becomes more or less a bore, why not wind up your trip with a visit to the Windsor theater. Get here at S.00 p. m. for the first show, or about 9.00 o'clock for the second. There is nothing that I my- self dislike more than just "running around, running around" in aimless riding, but when I've some place to go, at a certain time, I enjoy trying to get there without a blowout. Try it. I bet you will notice an added zest and enjoyment to the ride. If you've ever just "ridden around" for a few hours, you can sense the appeal of this paragraph. Mr. Russell should simply write more stuff and not worry about an occasional misspelled word. He doesn't have to when he can make his film announcements readable.
Arrested. Paul Langheinrich, Jr., of the Burleigh theater, Milwaukee, sends in a red card, printed in black, the most prominent words on which are the name of the house and "Arrested," the text explaining that your at- tention is arrested for a few. moments. The attraction is Traffic in Souls. The card is nicely balanced for type display and the lines are run to get this display for the proper sections. It is something of an art to get the right lines where they will get the right display and not crowd. Mr. Lengheinrich seems to think that the use of a sensational word as an attractor is new, wherein he is mistaken. It is common, but always good.
A Home-Made Souvenir Program.
Anees K. Maluf, of the Lion, Glasgow, Ky., sends in the program for his third anniversary. It is an eight-page with a cover, and Mr. Maluf set the type and printed the issue himself. In one point he fell down a little, and that is on the use of gold for the cover. It looks as though he had dusted the bronze on black ink instead of gold size and you have to hold it slantwise to get the effect. Next year he