LIBRARY f Tr*-„ * ;■ :■ O V. OF MODERN * -«7 Received: Scanned from the collection of Eileen Bowser Coordinated by the Media History Digital Library www.mediahistoryproject.org Funded by a donation from Richard Scheckman Vol. 35, No 1 January 5, 1918 Price 15 Gents \/y rf JA *V Founded ■ y V" ' " by J.P.Cnaimers in 19 Q7 € It ft. .j* a >■/+ *m % % fA fT tha PuWUhlni I* Oomtmnj y •& pictures I Goldwyn productions are more than "doing their bitlfbr the nation's exhibitors by attract- ing large audiences and making a house profit" i •» irii mi ii m i i !■!!■> i— iim i ~ - — ~ ii— II nj n i 1 n ■ CKalmerg Publishing Company 516 Fiftfa Aye.New YarK -J THE MOVING PICTURE WORLD January 5, 191? 4 Photodramatic Wonder and a Jewel Productions GEORGE K. SPOOR presents f\i i?] H ■ .^Kt" - *^^ I BYP.O.WODEHOUSE AT All FIRST CLASS PICTURE THEATRES- A Sk Whdtl! THE MOVING PICTURE WORLD January I, 1913 how the details. IKE A DELUGE— MILLIONS of explanatory advertising heralds, carrying the advertise- ment and complete explanation of the UNIVERSALIS mighty "MYS- TERY SHIP BEST ENDING CON- TEST" will fairly flood this entire country from end to end. One of the factors that will make this contest — A tremendous crowd compelling plan that will pull for 18 weeks HE HERALDS give the list of awards- explain every detail — of the age of boys and girls who may participate — how to become a participant — what to do — who the Judges are — how the awards will be made — suggestions will be judged — and all other 388 AWARDS — consisting of United States Liberty Bonds — War Cer- tificates and Thrift Stamps — Attractive amounts and so arranged as to be of the greatest possible incentive to all children. O BLANKS in this contest. EVERY CHILD IS REWARDED FOR HIS OR HER EFFORTS. This alone triples the value of this plan, and urges every Exhibitor throughout the entire country to communicate with his nearest Universal Exchange for this big WINNER. The Kids Will Be Wild About It lar.uary 5, 1918 THE MOVING PICTURE WORLD VERY Exhibitor will secure a generous supply of these "MYSTERY SHIP BEST ENDING CONTEST" heralds for local dis- tribution to back up this plan in all neigh- borhoods. Thus you will interest EVERY CHILD, every parent, every school teacher, enabling you to play capacity every week on matinees. AKE application NOW to your nearest Universal Ex- change for this tremendous nation wide "MYSTERY SHIP BEST ENDING CONTEST." DON'T let your com- petitor beat you to it. It costs you absolutely nothing— The UNIVERSAL gives all the prizes — conducts the entire contest does all the work— and YOU get the benefit for 18 straight weeks. ND remember this— the UNIVER- SAL SERIAL— "THE MYSTERY SHIP" — even without this tremend- ous nation-wide plan, stands head and shoulders in punch and pulling power, above ANY SERIAL NOW ON THE MARKET. It opens with the colossal $35,000 thrill in episode one and grips like a vise to the finish. YOU can't af- ford to be without it.. Get in touch with your nearest Universal Exchange and BOOK "THE MYSTERY SHIP" today. Universal Film Manufacturing Co. Carl Laemmle, President "The Largest Film Manufacturing Concern in the Universe" 1600 BROADWAY, NEW YORK nterests Old and Young Alike It's a Winner THE MOVING PICTURE WORLD January 5, 1918 !**T" / - il r«& >s. *MBM *&oqR ifku any A LOUISE LOVELY 5-act production that gives you a beautiful and popu- lar Star— a big and powerful cast including Hart Hoxie and a throbbing story of real Feature proportions. Best of all. it allows you to book, advertise and play it at a price that every Exhibitor can afford. A chapter from the wilds of the great West, truthfully depicted. Book thru your nearest Universal Exchange. SPLENDID PULLING POSTERS. January 5, 1918 THE MOVING PICTURE WORLD 9, 'Powerful Pictures Will Core Any t?ox~ Office De- pression That Ever Existed n THESE are the words of Walter Hays, Treasurer of all of the Mitchel H. Mark motion picture theatre enterprises. They confirm Goldwyn's own widely- advertised statement that "good pictures banish bad business in the theatre." This a/50 explains why exhibitors throughout North America have done capacity business while playing Goldwyn's Madge Kennedy in "Nearly Married," by Edgar Selwyn, "The Auction Block," Rex Beach's Greatest Story, Mae Marsh in "The Cinderella Man," by Edward Childs Carpenter, and why exhibitors everywhere are doubling their bookings for the greatest of all the .Goldwyn Pictures and the biggest production of the year in the motion picture industry Mary Garden in "Thais," by Anatole France. Thousands of exhibitors can improve conditions in their houses instantly by playing Goldwyn Pictures — BEGINNING NOW. 0GOLDWYN PICTURES CORPORATION^ Samuel Goldfish Pre/ident 16 East 42d Street Edgar Selwyn Margaret Mayo Editorial Director New York City THE MOVING PICTURE WORLD January 5, 1913 THE SUPREME ACHIEVEMENT of GOLDWYN MITCHEL H. MARK, president, and Harold Edel, managing director of the Strand Theatre, who have as their New Year's week attraction at one of the world's greatest amusement institutions, Goldwyn's remarkable presentation of MARY GARDEN in "THAIS," make this unusual announcement: "We know of no picture with which Mary Garden in 'Thais' can be compared and we expect to break every attendance record of The Strand with this unrivalled production." And Still More: A SCHER BROS.,. Chicago, ■** telegraph: Mary Garden in "Thais" will prove the greatest attraction ever of- fered patrons of the screen. It is the most remarkable production of the year and we offer our congratulations. CTANLEY V.MASTBAUM, ° of Philadelphia, one of America's greatest exhibit- ors, writes: "Thais" is perfect to the smallest detail. Mary Garden and the production are both wonderful. "Thais" is an artistic knock-out. January 5, 1918 THE MOVING PICTURE WORLD $oictwi MAMY GARDEN THAIS i>yAnatole France Directed, by Frank H. Crane GOLDWYN has the unusual honor of introducing for the first time to the millions of devotees of the photo-drama this exceptional dramatic artist in a pro- duction from a story by one of the foremost figures in the literature of the world. In "Thais" Mary Garden is the thrilling, electric, vital personality of flesh and blood— the daring, sensational, unusual woman who constantly challenges the attention of the world. A Prediction. MARY GARDEN is re- 1 l ceiving more publicity, more attention from the critics, more attention from all classes of the public, than any star who has ever been presented in your theatre. '"THAIS" is the one produc- 1 tion of recent years that is so certain in its box-office appeal as to justify you in playing it for double the time you give any other picture. 0GOLDWYN PICTURES CORPORATION^ Samuel Goldfish President Edgar Selwyn *WlC# Prerident 16 East 42d Street Margaret Mayo Editorial Director New York City 10 THE MOVING PICTURE WORLD January 5, 1918 ft PATRIOTIC APPEAL THE WHARTONS PRESENT A1ER1QA ; :rial sypii « » THE EAGLE S EYE THE STOKY OF THE IMPERIAL GERMAN GOVERNMENTS SPIES, PLOTS AND PROPAGANDA IN THE UNITED STATES By WILLIAM J. FLYNN Chief of the United States Secret Service SCENARIO BY COURTNEY RYLEY COOPER PRODUCED IN 20 STUPENDOUS THRILLING EPISODES BY A GREAT COMPANY HEADED BY THE POPULAR STARS King Baggot and Marguerite Snow "THE EAGLE'S EYE" will go before the public with the greatest advance interest ever created in any attraction, either picture or play. Millions of pages have been printed, and millions more will be published in the next few months, in reference to spy activities in this country and the work of the United States Secret Service in exposing and combating their crimes. AN ATTRACTION IN WHICH EVERYBODY IS INTERESTED U.S.A. DISTRIBUTED BY FOURSQUARE EXCHANGES mm ITHACA, N.Y PRINCIPAL OFFICE 729 SEVENTH AVENUE, NEW YORK BOOKING OFFICES »u-&mL IN ALL PRINCIPAL CITIES ' u TUR > ES I here is splendid Value at the motion picture box office in. tke name and fame of EDKA.GGDDRICH whose prth coming appearance on the screen will be in— her Second husband which portrays the struggles against reconciliation, of a proud, husband and Wife to vPriom ne^ry acquired Wealth had brouant marital discord — the poril of hurried divorce — tke final triumph of loA?e over pride Available December31 at a// excAanaes of the Mutual Rim Corporation THE Mutual Film Cor- poration is extending its fullest co-operation to the committee of the motion picture industry) collecting funds for "Jewish Welfare Work among Soldiers and Sailors." The heroic Jews in our military service and three millions of Jews in the war zones abroad need our sympathy and support in substantial terms. Contributions may be made b$ check (endorsed for Jewish Fund) or other remittance to — Mutual Film Corporation 220 Soutk State Street Chicago, Illinois. STATE RIGHTS What the qcniuj* of exhibitorr- tkc man who has built the Q I ALTO and dreamed the PIVOLI — /ay/ of George Ioani Tikkeb/ masterpiece: THE RIflLTO TIMES SQUARE OFFICE OF THE (MANAGING DIRECTrmt NEW YORK THE RIVOLI BROADWAY «T 49T« STREET December 19. 1917. Ur. Frederick L. Collins, The MoCluree' lublloations. Hew York City. 117 dear Mr. Collinsj I hare Just seen "Mother "by Oeorge Loane Tucker and, to say the least. It ia a ploture that will linger with me for a long, long time. lllse Eisden, who plays the oharaoter part of "Mother" gives one of the fineat character performances I hare ever witnessed on the soreen. The refinement, the intelligence and the good taste displayed by her make her, in my opinion, one of the greatest artistes on the soreen. The whole picture has an atmosphere of good taste about It and drama is so big that I don't see how In the world it can go wrong. The musical possibilities in this picture are also great and I can assure you that if It is properly played and handled it will touoh a responsive oord In everyone's heart and is bound to be talked about. I will let yon know in the near future just what date I ean give you in either The Bialto or The Blvoli and you can rest assured that 1 shall be glad indeed to play it. Very sines / Banaglng_ WRITE OB WIDE FOB OPEN TEQDITODY TO- GENEDALENTEDPDI/'Er, INC 14-76 BQOAvDWAV, NEW YORK CITY 12 THE MOVING PICTURE WORLD January 5, 1918 An ARTCQAFT Picture January 5, 1918 THE MOVING PICTURE WORLD 13 za efittlePrincess '«• • — ii ^ --rr* ./fry Finances? Hodgson Dmwctt ScoMM€kM'lo Aw/ Frances Majuon Dji'eoted hy Marshall Noilan A ... Do you remember Tess of the Storm Country"? So do all your patrons. Yes, and they'd pay money to see it , — r again. -J* You know this is true because Harold Edel, Managing Director of the Strand Theatre has played "Tess" back for three solid weeks of capacity business. Now, we aren't going to tell you that you can do this with every picture or evert • — say that this picture is as good as "Tess." ; ] "The Little Princess" is better from our standpoint. It cost many times as much — the settings, cast, and story cost much more. But it's up to your patrons after all. For the sake of the industry, if not for your own sake, play this wonderful picture long enough to let your regulars tell their friends and get out of this picture your proportion of the money J" spent to produce it. but don't forget to advertise enough so that all your people know about it I FAMOUS PLAYERS -LASKY CORPORATION An ABTCRAFT Picture 14 THE MOVING PICTURE WORLD January 5, 1918 Y OU AREN'T SUPPOSED TO READ THIS ADVER truck" that all the doting mothers and fathers in the THE SEVEN SWANS • A PARAMOUNT PICTURE • • • £^ S*=- 5>=- £7^ Come e au we '. v)" (vv^ TO CHILDREN AND THOSE WHOSE HEARTS ARE YOUNG **im*» LETS MAKE-BELIEVE UMfm • • A LETTER FROM • • MARGUERITE CLARK My dear Children: John Martin came to see me to-day and we talked a long time about you, which made me very happy. I love you children dearly (and it is plain to see that John Martin does, too.) Do you know what I want most of all in the world? I want to make you children happy and I want to give you the kind of thoughts that are really lovely; and I want to live and feel like a child myself — that is the reason I like my Fairy Plays most of all. Won't you children come to see me in my new play, "THE SEVEN SWANS." I am a little Princess in it. You will love the film, I know, because my heart was with you all the time it was being made. Oh, it is a very magic play — and I should not wonder if some day I might step right out of the screen and come right among you children and ask you to play with me! Oh, I wish that would happen! Well — who can tell, perhaps it may. "When I love you and you love me Big magics are quite apt to be." Good-bye, Children, I hope to see you soon. Affectionately yours, f E E I E ism OLULUI— ILULUf-HiJJUJI-ILU 'ffi This 15 -The -Old- Picture □ □ » uuuuuuuuinnnnjinjuij^^ Scene from "A Man's Man," a PARALTA PLAY, featuring J. Warren Kerrigan. This Style of Picture has been Standard for Ten Years for These Reasons 1. — The film size, % x 1 inch, could be cheaply produced, for cheap theatres. 2. — The standard celluloid film would tear and "buckle" more easily if it were wider, and would break more easily if it were narrower. This sire has the greatest "tensile strength." 3. — The lenses of ten years ago would not photograph a picture on a larger film in the 1-16 of a second allowed, except with "fuzzy" edges and aback- ground out of focus. 4. — The small stage allowed of cheap settings and did not require much of the unskilful actors of that day. There has been No Change in the Shape or Size of Pictures for These Reasons 1. — Nobody ever thought it possible. Their eyes were glued to immediate advantage, no matter what the cost in effort wasted on a medium that could not do the effort justice. 2. — "Standardization," in screen size and in projecting machines, was considered more important than the need of a more worthy medium for the great productions. 3. — The mechanical difficulties were considered too great to overcome. MEANWHILE we built our Strands, spent hundreds of thousands on productions, stars and distribution efficiency — while presenta- tion methods lagged in the old narrow channels of the nickle- odeon days. E E I E E I E E I E I I in 1 OiiiiiOfiinjniTinDif^iMniiiio n Q LU LU hH LU LU I— I LU LU I— I LU LU HH Ej I 3 3 I 3 ■3 I 3 3 [I 3 3 fa 3 T 3 3 ANDTHISISTHENEW Knnniuuuiniuiniuuw^^ □ □ jtauuuuuuuinjuuuuuin^^ The same scene as it would be presented in the Motion Picture PLUS This Size and Shape of Film Is Perfectly Practical in Any Theatre, for These Reasons : 1. — Although double the amount of film is used, the new process, absolutely protected by many patents, will give such effects and WILL BE USED AS A GUARANTEE OF SUCH QUALITY, as will put the picture beyond all question of competition in stars, spectacles, etc. 2. — The standard film is used, in all its tensile strength and with all the value of standardization in laboratory work, shipping, handling, etc. 3. — Modern special lenses give not only as good but far better photographic results in the Motion Picture PLUS than anything yet achieved. The stereoscopic effect, so long sought for, has been secured, insuring a photo- graphic quality unique in any motion picture theatre. 4. — For figures of equal sire upon the screen, the actors move on a stage nearly twice as wide. This has all the effect of the stage of a legitimate theatre. It gives full advantage to the costly sets of modern productions. It allows the director to bring actors into the scene from "off stage" instead of jumping them into the action or using confusing "cut backs." Compared to this larger field, the old screen seems like looking at a part of the stage of a theatre through a square hole. I E E I E I E E I E E I i iyiM»H=)IIUWIMSIMiyWIIB= I I lUiui i iuiui lE^i iumi i iuium HBpnuiDi iggi nuiinninni isgip i The Hodkinson Plan for Distributing The Motion Picture PLUS The first production under the new process is a PARALTA PLAY, with Bessie Barriscale as the star. It will be ready for issue in February, 1918. In the beginning, not more than fifty theaters will receive franchises for exhibit- ing the Motion Picture PLUS. These exhibitors will be tied in with the Hodkinson organization. This will give them assurance of control of the new process, with all its prestige of quality, in their locations. As a bi-product of the Motion Picture PLUS, productions utilizing the same stories, stars and sets, will be made in the narrow, standard form, giving smaller exhibitors the advantage of the national advertising, publicity and discussion of the Greater Motion Picture until we can offer the number of productions needed to supply smaller theaters. The projecting machines for the Motion Picture PLUS will be leased to theaters, so that THE ONLY ACTUAL INVESTMENT REQUIRED WILL BE A LARGER SCREEN. Basic patents protect all the manufacturing and projecting processes of the Motion Picture PLUS, and all rights are vested in the W. W. Hodkinson Corporation. WE SHALL THEREFORE BE ABLE TO CONTROL THE STANDARD OF QUALITY OF EVERY PICTURE MADE IN THIS SIZE AND SHAPE. This control we regard as a sacred trust, which we shall use only to give to the theaters and the public that VISIBLE GUARANTEE OF QUALITY which alone can dispel from the public mind the confusion which hinders its search for pictures worthy of public patronage. W. W. HODKINSON CORPORATION 527 Fifth Avenue New York E I " I 1 miiMisiiyiyiiMisiraiMieiiuwiiiui I ID! I I January 5, 1918 THE MOVING PICTURE WORLD 19 *"' ^.wieipnThu/* u WE OPERATE EVERYWHERE- '$$. '$■'> "0- ■ ■V&: -•.-■'■-■ i" :. ■; '«7, m ? START OFF THE NEW YEAR RIGHT SEE US NOW SECURE/ FOR YOUR PARTICULAR TERMOR] PARALTA PLAY5 PICK OF THE PICTURES WORLD PICTURES BRADY-MADE BINGO COMEDIES VIM COMEDIES BLACK DIAMOND COMEDIES' m m 'WE OPERATE/ EVERYWHERE^ -■JII ':(, ■:W 2%® OBJECTS W M \£> EXCLUSIVE EXPORTERS OFSPEER CARBONS INTERrOCEAN FILAV PAULRCROMEUN HEW YORKi CITY 3 Largest Distributors of Film in Foreign Fields [CHLE5, 20 THE MOVING PICTURE WORLD PARALTA PLAYS January „, 1918 The First Paralta Play J.Warren Kerrigan m Directed by OSCAR APFEL "A Man's Man" Written by PETER B. KYNE "Greater lone hath no man than this, that a man lay down his life for his friends. " St. John xv: 13 John Webster's creed is, "live and let live." That's why he hates kings and such, and despises the holier-than-thou kind. The world is his play ground. He has many play fellows. But only one friend. For that friend, John Webster is ready to go the limit. There's nothing John Webster refuses to try once — and once more, if it doesn't take the first time. He tries mining, and makes his pile. He tries to save a fellow's head. The fellow is still wearing a hat. He tries to start a revolution and goes through with it all the way. He tries to deliver a nation from the yoke of a despot. (Mr. Despot is now cursing John Webster's memory — in a place where the heat is never turned off. ) After he has tried a whole lot more things, he tries love. And his friend, too, tries love. And it's the same girl. John Webster knows it — his friend doesn't. There's the rub. There's where friendship enters by the front door. There's where John Webster is ready to sacrifice his soul on the altar of friendship. Because he is a man's man. Then providence deals him the ace of hearts I PARALTA PLAYS, Inc. 729 SEVENTH AVENUE NEW YORK CITY CARL ANDERSON. President ROBERT T. KANE. Vice.-Pre*. JOHN E DeWOLF, Chairman Directors HERMAN KATZ. Treas. NAT. 1. BROWN, Secretary and Gen'l Manager DISTRIBUTED &Y H0QKIN5DN CORPORATION — *< •■ .tI January 5, 1918 THE MOVING PICTURE WORLD PARALTA PLAYS The Second Paralta Play Bessie Barriscale 21 Directed by REGINALD BARKER "Madam Who?" ROBERT BRUNTON, Manager of Productions Words may sell a picture, but they '11 never make one ! To say that Paralta Plays are the greatest pictures in the world, would be stale and trite. And if we used up all the highflown words in the dictionary, it would amount to no more than the usual flapdoodle you've been handed so long that you don't pay the slightest attention to it. And you shouldn't. Nowadays, only those who see can believe. Well, there are those who have seen Paralta Plays. And having seen, they believe, What's more, they have backed their belief by actions which make the loudest words seem like a hoarse whisper. Here are the men and their actions: W. W. Hodkinson — who decided on Paralta Plays as his feature product for distribution. Paul H. Cromelin — Inter Ocean Film Corporation — who obtained the foreign rights for Paralta Plays. Arthur Cohen — Globe Films, Ltd., — distributor of Paralta Plays in Canada. Have you confidence in the judgment of these men? Now, you see Paralta Plays and be convinced. Written by HAROLD MacGRATH PARALTA PLAYS, Inc. £ 729 SEVENTH AVENUE EW YORK CITY CARL ANDERSON. President ROBERT T. KANE, Vice.-Pre*. JOHN E. DeWOLF, Chairman Directors HERMAN KATZ, Trea«. NAT. I. BROWN. Secretary and Gcnl Manager DISTRIBUTED &Y WW.HOQKINSON CORPORATION ^PICTURES ■Kr:"^;^isi&®%&m ;^^f^i^^. So Skirley sat up all nignt, reading Powell on "Railroad Finance. CLARA I KIMBALL YOUNG AND. HER OWN COMPANY present "SHIRLEY KATE" by Hulbert Footner scenario by Margaret Turnbull directed by JOSEPH KAUFMAN Distributed by SELECT PICTURES CORPORATION 729 Seventh Avenue, New York Ci . I ®) PICTURE w^'^'iYi'ivi'-^ JOSEPH M. SCHENCK presents NORMA rALMADGE in "GHOSTS OF YESTERDAY" adapted by Mildred Considine, from the play\ "Two Women." by RUPERT HUGHES directed bj> CHARLES MILLER Warned by the lawyer, La Fleur Waited; Marston was declaring his lo-?e for her in a passionate outburst .;. . . §SS^SS a ^SS5 '^':-^ ;tf&.; : 5' J »:s ,:, S?.5 Distributed % SELECT PICTURES CORPORATION 72^Sev^nth Avenue, New York City JACK SPURLOCK-PRODIGAL POX SPECIAL FEATURES O A. WEEK © A YEAR, EXHIBITORS N S AT I O N HORACE tOKItiER. fr THE POINT FOl EXHIBITOl THIS SENSATIOl PICTURE WILL B3 RELEASED ONLY TO 1 THOSE WHO HAVE CONTRACTED FOR FOX SPECIAL FEATURES AS SURE AS FATE- HERE IS THE GREAT- EST PATRONAGE BUILDER. EVEIL^ OFFERED IN A, SERVICE fgfcy •iSte^ c^ v s**$& VJO Vt o** t*^ 1 CONTRACT NOW i&?EES£ January 5, 1918 THE MOVING PICTURE WORLD 25 STANDARD PICTURES READ THESE TELEGRAMS iBffiAAM&Jfflfim RE! wlf! A DAUGHTER OF THE GODS ^^sa^f ■ ■:— /ills::!!:/ . . . J 0£ JWS « T b ? I: lil" .. .:.::■ ::.:. "lap I ■HUT FOX FILM CORPORATION 26 THE MOVING PICTURE WORLD fanuary 5, 1918 And Now Comes Out of the West TARZAN OF THE APES (Directed by Scott Sidney) You have learned of its all-star cast- Now learn about the picture itself. *It has the ONE BIG NEW IDEA of the last two years. *The life of a man-child fostered by an anthropoid ape is placed before your eyes. *His primitive struggle for existence in the African jungle is shown in all its vivid realism. 'How Tarzan becomes king of the apes; how love of an American girl raises him above the beasts; how intrigue and scheme fail to rob him of his heritage — these are the themes which make TARZAN OF THE APES THE WONDER STORY OF THE AGE ^Millions have read Tarzan in the dailies; millions will see him in the film. NATIONAL FILM CORPORATION OF AMERICA SANTA MONICA BLVD. (from Gower to Lodi Street), LOS ANGELES, CALIFORNIA January 5, 1918 ' THE MOVING PICTURE WORLD 27 xhibitors renewed thanks tor your support and now, and appreciation of your future patronage, we extend the Seasons Compliments, and our sincere wish that 1918 will give you full measure o( profit, prosperity and success. AS NOW, it shall be our aim so to study your interests and our own that each of us will gain added strength from our partnership and mutual esteem. — W? recognize the responsibility you placed upon us by your confidence and support. We shall continue to deserve it. It's YOUR business to see that OUR business prospers. OUR business iohdpVOUR'S. World policies have at last waked up most distributors and producers to the real mutuality of interests of exhibitor and dis- tributor, both must fa\\ unless both SURVIVE World Film Corporation 28 THE MOVING PICTURE WORLD January 5, 1913 EXTRA ATTRACTIONS — LIVE HOW TO ADVERTISE SIDNEY OlCOTT'S STUPENDOUS MART INTEREST SPECTACLE WW sta«jr ^ WAT VXD W STARRING JVAlflfflNIGMNT HOW TO ADVERTISE &Xojiyir.j}K& UtfXHiBiTURS'EUUKiNG EQRPDRATiQN FRANK G.HALL— V^rTS. TOP O'THETIMES BLDG. NEW YORK January 5, 1918 THE MOVING PICTURE WORLD 29 ADVERTISING ~ BIG BUSINESS wnw LET YOUR patrons know this is a special Thos. H. Ince production in seven reels planned by its famous producer as an extraordinary feature for special presentation. Also acquaint them with the fact that it is the most powerful vehicle in. which Bessie Barriscale has ever been seen. The New York Review said: "'THOSE WHO PAY' is, in our opinion, the best screen exposition of the eternal triangle that has been presented in recent years." Advertise it as such. After your opening show the women will advertise it so effectively that capacity houses will continue throughout the engagement. Delqian Martyred Belgium is the most appealing subject in the public mind. The title of Frederic Arnold Kummer's timely drama therefore attracts immediate attention. Drive home the fact this elaborate offering represents the supreme effort of the great director, Sidney Olcott, to stage a masterpiece (in seven reels) worthy of the importance of the subject. Take advantage of the two eminent stars. Walker Whiteside and Valentine Grant, to prove the very special nature of the production. The| many calls for "THE BELGIAN" by monster benefits (it was a prominent feature of Hero Land) is proof positive of its tremendous exploitation possibilities. You should do a wonderful business with this valuable attraction. hAST RAID EMPHASIZE THE FACT THAT THIS IS THOS. H. INCE'S NEWEST AND GREATEST spectacle and bring out the spectacular features— the Zeppelin in Action— the inner workings of the mighty air monster— the bombing and burning of towns and villages— mutiny in the gondolas of a dirigible— a huge "terror of the skies" destroyed by fire in midair— multitudes of enslaved people sounding the battle cry of freedom. These sensational features are making this high-class thriller do a tremendous box office business. You can get YOUR SHARE of this money— it's a live showman's proposition go after it! 8 Book Through the Following Exchanges: HOFFMAN-FOURSQUARE: NEW YORK— 729 Seventh Ave. BTFFAI.0 — 47 W. Swan St. DETROIT— 304 Joi. Man* Bldg. CHICAGO— 207 S. Wahash Ave. DENVER— 173S Welton St. SEATTLE— 21114 Third Ave. plTTSTtmOTT — 127 Fourth Ave. LOS ANGELES— 414 W. 8th St. PHILADELPHIA— 132.1 Vine St. CINCINNATI— 301 Strand Theatre Bldg. ST. I.OC1S — 301 Empress Theatre Bldg. CLEVELAND— 310 Sloan Bids. WASHINGTON— 8 E St.. N.W. KANSAS CITT— 1120 Walnut St. SAN FRANCISCO— 191 Golden Gate Ave. MINNEAPOLIS — 2U6 Film Exchange Bldg. SOUTHERN STATES FILM CO.: ATLANTA— 114 Walton St. DALLAS— 1900 Cmoieree St GLOBE FEATURE FILM CO.: ££ w EWAVD- 2" Wln.-he.ter SL. Bortnn. FRANK GERSTEN. Inc.: NEW JERSEY— 220 W. 4Id St.. New Yori City FOREIGN RIGHTS: ROBERTSON-COLE CO., 23RD FLOOR. TIMES BLDG., NEW YORK 30 THE MOVING PICTURE WORLD / January 5, 1918 TOM MOORE^of WASHINGTON I will not be bulldozed. I will not be robbed by overcharges. Therefore I have concelled sixty-eight contracts with one distributing company and twenty-two contracts with an affiliated company. I am working for Tom Moore. I have my own ideas of how my own business should be run, and, in all modesty, I think that those ideas are partially responsible for whatever success I have had. I will continue to run my business in my own way. When I can't do that, I'll quit. For some time there had been a serious question in my mind as to how long existing conditions could continue. I knew I was paying extravagant prices, but, like thousands of other exhibitors, I submitted so long as I saw a profit. Recently I was informed it would be necessary for me to show ALL of the pictures of these two particular companies in all of my Theatres, TO THE EXCLUSION OF THE PICTURES OF ALL OTHER COMPANIES. I cancelled every contract. The motion picture business is too important and the Exhibitors are too good business men to tolerate bulldozing tactics of this kind. We are too far-sighted to permit one company to "hog" all of the business establishing a monopoly that will place us absolutely in their control. January 5, 1918 THE MOVING PICTURE WORLD 31 You Exhibitors all know Tom Moore, of Washington. Mr. Moore is one of the most courageous men in the Industry. He is one of the pioneers and to him is due most of the credit for the improvement in the industry in the past few years. Mr. Moore controls eighteen houses in Washington, including the Strand and the Garden. He will have bigger houses soon. Several weeks ago Mr. Dooley, of Paterson, N. J., told you how he had cancelled his contracts with a certain company when he found he could make no profit because of the high rentals. Mr. Moore has the same complaint. He objects to extravagant rentals and he objects to having his policies dictated by those who depend upon him and his fellow Exhibitors for their very existence. Mr. Moore informs us he has cancelled ninety contracts. Mr. Moore has signed for Pathe Plays Before you book your plays for 1918, have a talk with us. We have something interesting to tell you. u ©^ f%Uh^/i~ Vice-President and General Manager Pathe Exchange, Inc. N. B.— We would be pleased to hear from other Exhibitors who are dissatisfied with existing conditions. 32 THE MOVING PICTURE WORLD January 5. 1913 il'THE PUBLIC SPEAKS ABOUT THE BOX OFFICE VALUE OF HARRY RAYERSISrc ■i I WITH THE GREATEST TRIOLOG OF STARS EVER ASSEMBLE ^*& - \ " FRANK KEENANl l ALM A HANLON \ I ROBERT EDESONj READ THE January 5, 1918 THE MOVING PICTURE WORLD THESE OPINIONS POINTTOTHE BOXOFFICE HEY REPRESENT THE PUBLIC MIND - HE SPECTATOR WHO KEEPS THE MIGHTY 'ICTURE INDUSTRY ALIVE AND GOING. TO THE SHOWMAN WHO CATERS TO HIS PUBLIC/THESE OPINIONS ARE VALUABLE. :■ iH CONCERNING THE PUBLIC DEFENDER HON. EDWARD J. LAUER, Justice of the Municipal Court, New York "It is certainly a novel and singularly effective production." HON. EDWARD J. DUNPHY, Ex-Congressman and Prominent Attorney "I enjoyed the picture immensely. It entertained and thrilled me." THOS. W. CHURCHILL, Famous Educator and Former President of N. T. Board of Education "I was interested from .shirt to finish. It is a graphic presentation, with a strong melodramatic plot of peculiar hut plausible development." REV. JOHN E. ZEITER, Pastor First Methodist-Espiscopal Church, N. Y. '"THE PUBLIC DEFENDER' is simply great, whether read as a hook or seen as a picture." REV. SAMUEL GREENFIELD, Rabbi Isaiah Temple, New York "Artistically, the production ranks high. The story is carried out with startling truthfulness and vivid forcel'ulness." REV. RODOLPH GROSSMAN, Rabbi Congregation Rodoph Sholom "The picture is intense in its story, heart mov- ing in its appeal, and very convincing in its presentation." DR. WM. J. O'SULLIVAN, Celebrated Medico-Legal Expert "The cast is worthy of high praise for con- scientious and artistic rendering of their respec- tive parts. The picture is both informative and convincing." FRANKLIN S. TOMLIN, Well Known Labor Leader "From the standpoint of an interesting enter- tainment, I consider it greatly superior to a ma- jority of the motion pictures that have been presented." MYRON SULZBERGER, Successful New York Lawyer "Representing, as I do, certain motion picture in- dustries, I can appreciate the wonderful selling qualities that "THE PUBLIC DEFENDER" possesses. The public will clamor fur it, and thereby stimu- late such demand." SAMUEL J. SIEGEL, Prominent Criminal Lawyer "'THE PUBLIC DEFENDER' unfolds an in- tensely gripping story, sending its lesson to heart and mind in a manner to create thought." ALL THE ELEMENTS POWERFUL STORY, GREAT STARS, IMPRESSIVE SCENES, UNUSUAL THEME, FINE DIRECTION ARE FOUND IN THE PUBLIC DEFENDER . FOR TERRITORIAL RIGHTS ADDRESS RENOWNED PICTURES CORP -^ ..Wj. VW m '^y > 1 GOO E " ' £* fl". -.'-' r^A^Ha^^H Ij— ■":■-<,, "\y. ■ V ■ *"*3K s ■ ■ ■ ■ '■■'■' ' ■■■' " " ' L 34 THE MOVING PICTURE WORLD January 5, 1918 IMPORTANT NOTICE You are not buying a law-suit when you buy the famous Keystone-Mack Sennett comedies mentioned below. EVERYONE OF THESE COMEDIES IS COPYRIGHTED AND PROTECTED. Every buyer is given a contract with power of attorney to confiscate any prints that are in the territory on Keystone subjects listed below. "THE SUBMARINE PIRATE," with Syd Chaplin (4 Reels), and "FATTY AND MABEL ADRIFT," with Fatty Ar buckle and Mabel Normand (3 Reels), alone are worth the price we are asking for the entire list. The only states remaining unsold are: NEW JERSEY, PENNSYLVANIA, ILLINOIS, OHIO, INDIANA, KENTUCKY, MINNESOTA, NORTH DAKOTA, SOUTH DAKOTA, and WISCONSIN. Our suggestion to the live STATE RIGHT BUYERS who want tested box office winners is to GET BUSY AT ONCE and secure these pictures for their territories if they are still available. THE SUBMARINE PIRATE with FATTY AND MABEL ADRIFT with CINDERS OF LOVE with HE DID AND HE DIDN'T with THE OTHER MAN with BRIGHT LIGHTS with BUCKING SOCD3TY with THE SNOW CURE with THE VILLAGE SCANDAL with SAVED BY WIRELESS with FATTY AND THE BROADWAY STARS with DIZZY HEIGHTS AND DARLING HEARTS with HIS WILD OATS with WAITERS' BALL with HIS FIRST FALSE STEP with AMBROSE CUP OF WOE with SYD CHAPLIN (4 Reels) FATTY ARBUCKLE and MABEL NORMAND (3 Reels) CHESTER CONKLIN FATTY ARBUCKLE and MABEL NORMAND FATTY ARBUCKLE FATTY ARBUCKLE and MABEL NORMAND CHESTER CONKLIN FORD STERLING FATTY ARBUCKLE and RAYMOND HITCHCOCK CHESTER CONKLIN FATTY ARBUCKLE CHESTER CONKLIN FORD STERLING FATTY ARBUCKLE CHESTER CONKLIN MACK SWAIN HILLER & WILK, Inc EXCLUSIVE SELLING AGENTS FOR BROADWAY FILMS COMPANY LONGACRE BUILDING, 42d STREET AND BROADWAY, NEW YORK PHONE, BRYANT 6652 Rathe The most advertised feature ever offered to ihe exhibitor — RUNAWAY ROMANY with MAPION OAVICS Jovcliest of afl of Mew)/orks siaqe beauties ftviqorous advertisinq^- campaiqn, conducted in oyer -40 of the larqest news- papers of Hie country . for weeks has been te/linq^- <~fhe public of the merits of this fine attraction In consequence millions wish 1d see it BOOK IT AND CASH IN! FIVE PARTS Produced txj Ardsleq Art Film Corporation. Stellar cast with Joseph Ifilqour, Matt Moore, Ormi Howleq, Gladden James, Boqce Combe and Pedro de Cordoba Pathe DOfWKENYON SHELDON LEWI5 ROOM ONLY WITH l,6bo SEATS IO*, 15*, QO* AND 2J4 7he Qrottcf Opera Mouse in New York is doinq it w't/f HIDDEN HAND SERIAL AT—^ SHELDON LEWIS. ...1he FOUR STAR MTfhT DOPIS KENYON ARLINE PRETTY, AND MAHLON HAMILTON New York. December 7. 19 1 7 PATHE EXCHANGE. Inc., 1600 Broadway, N. Y. City. Gentlemen:— With regard to your new serial "THE HIDDEN HAND". 1 want to give my fellow exhibitors a little "dope" on the serial. This is the first Pathe Serial I have used in the above theatre in three years. After being induced by the salesman to screen this serial, I gave him a three days' booking on it. The results were so surprising that I will hereafter use every Pathe Serial which looks anything like a drawing card such as "THE HIDDEN HAND". I have one thousand one sheets, one thousand half sheets and one thousand three sheets posted from 34th Street to the Battery advertising this Serial. It is playing to standing room with my 1600 seats at 10c, 15c, 20c. and 25c Hoping you will release another serial real soon, for which I will hold dates open, beg to remain. Yours very truly, JAMES F. THOM, Mgr. GRAND OPERA HOUSE, 23rd St. and 8th Ave.. New York City. YOU CAN PLAY TO CAPACITY TOO IF YOU BOOK '^HIDDEN MAIMD ADAPTED FROM THE STORV BY ARTHUR D. REEVE • ARLINE PRETTY MAHLON HAMILTON^ Pathe <7Ae TMREE MOST THRILLING REELS YOU EVER JAW — 7^8-ANNUAL POUND UP (PENDLETON, OREGON) If 14011 want to see audiences fairly boil with excitement show this picture of daredevil *~ deeds. RELEASED DEC.30^ Rathe Acting- superb "A SUCCESS AS" A BOX OFFICE ATTRACTION" ^nvfiaf a prominent MpwYbrk. drcurr saw of iho RUSSIAN APT PILMS r "■ " - - ■ iriwiiiJiiiiiiiiiinmiffiBimimiBiiiwwiiiuwLiuiwmng ■M. & S. CIRCUIT 35 Second Ave. , New York City. Nov. 31st, 1917 Pathe Exchange, Inc., 1600 Broadway, Hew York City. Gentlemen:- ATTENTION OF MR. W.E. RAYNOR We wlah to state that the Russian Art picture, "THE PAIIITED DOLL" made a euo- cesa as a Box Office Attraction for my East Side and Bronxville Theatres. The patrons appreciated It very much. The acting Is superb, and the photography Is splendid. Sinoerely hoping that all your future releases will be of the Bame standard, we remain Very truly yours, EU:ML (Signed) Mayer « Sohneldsr." BHB BSD CURRENT RELEASE- HCD SISTEDS PIVAC <~WITH M'LLE COLODN AIA . . FIVE-PAPTT fethe What comedies averaqe hiqh- est daq in and daq out, in ike star, cast, direction and real lauqh producing qualities? ~)4sk the exhibitor showinq^, HAPOLDUOVD in the two reel LONESOME LUKE and the one reel ROLIN COMEDIES Love, lauqhs,and Lather' i$ Hie best comedi^ the writer has seen recentlq. It sets a hiqh-water mark in all picture comedq." Jtar/ON Picture Mews fethe —GLADYS HULETT&- whose pictures are alwaqs wholesome, sunshiny and charming, is the star of the tive part Cold Rooster Plaij^ OVER THE HILL Written bq Lois Zellner Produced b«j ASTRA""** Oirected bq Wm. Parke "OVER THE HILL" is the storq of a newspaper qirl in a small town. You'll like it BABY MADIE 05B0&NE is one of the best attractions in the business. She is the siar of the five— port Gold Rooster Play. nhan Produced by THO^H'INC^ ty REELJ With WILLIAM J HAI(T a? *be BANDIT Supported by* at? all $tar Cas-fc Robert Bdesoti— the Rreacber Rbea Mitchell ibe Girl Herjebet Mayatt — the HeaOy Gladys BrocKVi)eU-tl)e Vaipp A NIMBER OFTERRITORIEf ALREADY $OLF:> . APPLICATION J CONSIDERED IN ORDER OF THEIR RECEIPT. WHPUODUCTlONf CO 71WEfT a^yr. PHONE (gPll GRATVl^oa/ NEW YORK, CITY •• IN PREPARATION Tfce HEUrHQUND of ALASKA* la Answering Advertisements, Please Mention the MOVING PICTURE WORLD. 36 THE MOVING PICTURE WORLD January 5, 191* "THE LITTLE GIRL YOU WILL NEVEIi FORGET" Add PATUOj /\«.d HEART- T e DRAMA 5 EN/AT I ON AND YOU MABEL JNORMAND WOftLD RIGHT* CONTROLLED BY lOlO BttOKAW BLDG, January 5, 1918 HE MOVING PICTURE WORI 37 to HUMOR INTEKCJT- THEN* i© MYJTRY i-IAVE-^ rr IN MICkEY TO BE RELEASED JOON IMPORT CO NEW VOIiU CITY In Aniwerinj Advertisements, Please Mention the MOVING PICTURE WORLD. 38 THE MOVING PICTURE WORLD January 5, 1918, "WE PAY THE TAX" "First National" Release Dates NOW RELEASED " ALIMONY " NOW RELEASED Mme. Petrova in "Daughter of Destiny" FIRST PETROVA PICTURE DECEMBER 31 (A p proximately) Herbert Brenon Presents 66 EMPTY POCKETS" By RUPERT HUGHES JANUARY (Approximately} "Signature Chaplin's First Greater Comedy * Protected" i,F ore i§ n rights controlled by Wm. Vogel Productions, Inc./ \ Longacre Bldg., New York City ) Bookings now at all "First National" Exchanges FIRST NATIONAL EXCHANGES AND TERRITORIAL DIVISIONS ALASKA, WASHINGTON, OREGON. MONTANA, IDAHO 1200 4th Avenue, Seattle, Washington All or Alaska. Washington. Oregon. Montana — All counties in Idaho north of and including Idaho County, ARIZONA and SOUTHERN CALIFORNIA 833 So. Broadway. Los Angeles, California Southern California, including counties of Ran Luis Obispo. Kern. San Bernaidiuu and all south thereof. All of Arizona. AUSTRALIA New York Office— -Australasian Films, 729 7th Avenue Australian Office — Film House, Sydney. AU of Australasia. CALIFORNIA. NEVADA, HAWAII 134 Golden Gute Ave., San Francisco California north of counties of San Luis Obispo, Kem and Sun Bernardino; all of .Nevada and Hawaii. CAN Alt A (Western) 1318 Standard Rank Bids., Vancouver. B. C. All Canada west of and Including Fort William and Port Arthur. CANADA (Eastern) Imperial Theatre. Ottawa. Canada All Canada east of but not including Fort William and Port Arthur. COLORADO. NEW MEXICO. UTAH. WYOMING and PART OF IDAHO All counties in Idaho south of Idaho County. 1714 Curtis St.. Denver. Colo. GEORGIA. FLORIDA. ALABAMA and SOUTH CAROLINA Lyric Theatre, Atlanta. Ga. LLLINOIS 110 S. State Street. Chicago, El. INDIANA 24 W. Washington St.. Indianapolis, Ind. IOWA. KANSAS and NEBRASKA Gard-n Theatre. Des Moines, Iowa. KENTUCKY and TENNESSEE Rex Theatre, Louisville. Ky. LOUISIANA and MISSISSIPPI Strand Theatre, New Orleans, La. MICHIGAN 73 Broadway, Detroit, Michigan. MINNESOTA, NORTH and SOUTH DAKOTA 717 Hennepin Ave., Minneapolis. Minn. MISSOURI New Grand Central Theatre. St. Louis, Mo. .MARYLAND, DISTRICT OF COLUMBIA and DELAWARE Garden Theatre. Washington, D. C. NEW ENGLAND STATES 20 Winchester Street, Boston, Mass". NEW YORK 500 Fi*"th Avenue, New York City. NEW JERSEY 509 Fifth Avenue, New York City. OHIO 302 Sloan Bldg.. Prospect Ave.. Cleveland. PENNSYLVANIA (Eastern) and SO. NEW JERSEY 1339 Vine Street. Philadelphia. Pa. All counties in Pennsylvania east of Fulton. Huntington. Center. Clinton and Potter. TEXAS. OKLAHOMA and ARKANSAS 1920 Main Street. Dallas. Texas. WEST VIRGINIA and WESTERN PENNSYLVANIA 300 Westinghouse Bldg.. Pittsburgh. Pa. All of Pennsylvania counties west of and In- cluding Fulton, Huntington, Center, Clinton and Potter. VIRGINIA and NORTH CAROLINA 420 i'th Street. N. W.. Washington, D. C. WISCONSIN Toy Bldg. , Milwaukee, Wisconsin. The First National Exhibitor's Circuit, Inc. 18 EAST 41st STREET, NEW YORK CITY In Answering Advertisements. Please Mention the MOVING PICTURE WORLD. I have seen it and will run it at the Rialto because it is an excellent picture? _ \ l\. -*L *»"* FIRST . NATIONAL EXHIBITORS Attraction. T 40 THE MOVING PICTURE WORLD January 5, 19: FAIR PLAY Our Way — The Only Fair Way — To Sell You Pictures Book what Jewel Productions you like — whenever you like — without a contract tying you up 52 weeks in the year- — without a deposit — without fear of mediocre pictures that you'll have to accept — without compulsion of any kind — except the necessity of giving your patrons the best the market affords. Realize All That Jewel Fair Play Booking Means This — the Jewel Way — the only fair way to sell you pictures — gives you a fair, square chance to pick only proven successes — as many or as few of those successes as you want — for the dates that best suit your schedule — for the cream of the business on those pictures. Gives you a fair, square chance to round out your program with other good pictures — if you can find them. Realize Particularly This Many other concerns, if they could offer Jeivel Quality, would jump at the chance this highest quality offers, to tie you up with all manner of restrictions — limit you clear to the limit — squeeze the orange dry. Not so, Jewel Productions, Inc. Under the Jewel Fair Play Booking Plan YOU GET— All the plums. None of the lemons. At fairest figures. No forcing you to take several iveak features just to get one ivinning production. No buying a cat in a bag. You see every Jewel Production before you buy it. Thus you know what your goods are going to be like before you pay a single penny. No exorbitantly salaried Stars — who add nothing to entertainment value, but who do compel in- sane rentals that a majority of exhibitors cannot afford — that only'a few can play with real profit. No contract plan. No tying you up on a Series in which there may be a weak picture. January 5, 19K V THE MOVING PICTURE WORLD Under the live-and-let-live Jewel Fair Play Plan You Pick Your Picture and Pay for Your Pick and Pay for That Alone With a Quality Average infinitely above that of any other picture marketing concern in the busi- ness to-day, Jewel Productions, Inc., does not tie you up — does not restrict you — does not limit you in any way. Instead, Jewel Productions, Inc., offers you OPEN BOOKING on the very finest pictures, ob- tained from every source and renting at figures that give you a white man's profit on every one. Six Great Successes of Six Different Types <* The Man Without a Country " The great patriotic drama of the hour, endorsed and recommended everywhere by the American Defence Society. Made by Thanhouser. World Rights owned by Jewel Productions, Inc. " Sirens of the Sea " Louise Lovely and Carmel Myers in a dream of Venus-like loveliness, made by Allen Holubar. The Beauty Picture of the Age. " Pay Me " Dorothy Phillips — Idol of Millions — in a tornado of a Western drama, produced by Joseph De Grasse. Everywhere a smasher of business records. ft The Price of a Good Time " Mildred Harris in the most appealing, universal- interest play of many years, lavishly produced by Lois Weber — the Bclasco of the Screen. " Come Through " ssStja* ; Herbert Rawlinson in George Bronson Howard's mightiest melodrama of society and the under- world. Suspense at the shouting point. " The Co- Respondent " Elaine Hammerstein in the great Ralph Ince version of the stage play by Alice Leal Pollock and Rita Weiman. JVith $50,000 advertising to back her up. Soon to be Released "The Grand Passion >> Dorothy Phillips, William Stowell, Jack Mulhall, Lon Chaney. A Drama dyed Red with Human Emotions. Watch and Wait. JEWEL PRODUCTIONSCinc) l600B r WAVM*.Y. In Amwerlnt Advertisement*. Please Mention the MOVING PICTURE WORLD. .42 THE MOVING PICTURL WORLD January 5. 1913 One photoplay that you can count on for crowded houses as long as Americans are soldiers. Recommended everywhere by the American Defence Society. Made by Thanhouser. The Five Other Record Smashing Jewels are. I H— ■■ M il. II.— » ■■■■ ■ *— ^«^^^^^^ ■ ■, « l — Herbert Rawlinson in Elaine Harnmerstein; jr* "Come Through" - "The Co-Respondent*' # Dorothy Phillips in Louise Lovely •- Carrnel Myers, in "Pay Me" "Sirens of the Sea" Mildred Harris in "The Price of a Good Time," produced by Lois Weber COMING - Dorothy Phillips in "THE GRAND PASSION" January 5. 1918 THE MOVING PICTURE WORLD 43 EXPORT IMPORT FILM Co? fiave completed arrangements whereBy they control for a period of years the FOREIGN RIGHT5 (EXCLUSIVE OF GREAT BRITAIN) for any and all product ions made by f fte NEWLY COMPLETED "7he Garden ofA/fafi " "Pay/nd /Ae Price " *7fieCr/szs" , t *T/ie St/// Jf/arm" Jjrow/i qf/farvan/ " 7ne G/yofPi/rp/e /)rea/n$l ARE NOW OPEN TO THE FOREIGN BUYER. ADDRESS ALL COMMUNICATIONS TO 729 3EVETNTH AVE., NEW YORK CITY r EJ£P0RT and IMPORT FILM CQ!5| WONE BRYANT 45G6-7-8 ^ ■J J. FRANK mOCKUSSm, ~^mW% PHONE BRYANT 5343 %} 44 THE MOVING PICTURE WORLD Fanuarv 5, 19B t« HIDING ^ BLACK BILL by O. Henry (Two Parl-s) A Sna^y DramaHc Story in which a Des^erado-Shee^ Herder Plays aDes{:>erabe Game an4 Wins. BROADWAY STAR FEATURES Distributed Exclusively by General Film Company Remember those fine holiday "O. HENRY" subjects, "Whistling Dick's Christmas Stocking" and "The Gifts of the Magi." January 5, 1918 THE MOVING PICTURE WORLD 45 w Wonders of Nature and Science The Bay of Fundy, where the tides flow 60 feet high, leaving the ships on dry ground at the ebb and floating them off at the flood. SCENICS SUPREME BOOK ONE EVERY WEEK "Water Powers of Western Canada" "Through Canada from Coast to Coast" "How Canada and the Farmer "Agricultural Opportunities Co-operate in Grain Raising" in Western Canada" A NEW PROGRAM MAKER ESSANAY COMEDIES (Directed by ARTHUR D. HOTALING) "He Loved Her So" "Nutt Stuff" "Lunch" "Make Your Eyes Behave" Screen time 15 minutes *R/ S/S/Q/V\AVU 1333 Argyle Street, Chicago 1HT George K. Spoor, President Distributed Exculsively by General Film Company, Inc. In Answering Advertisement!. Please Mention the MOVING PICTURE WORLD. Trademark Beg. C. S. Pst. 1901 THE MOVING PICTURE WORLD January 5, 1913 watch CHARLIE CHAPLIN "WORK Play in 9 $ PACK YOUR THEATRE WITH THESE GREAT ESSANAY-CHAPLIN COMEDIES "BY THE SEA" "A JITNEY ELOPEMENT' MONTH "IN THE PARK" "THE CHAMPION" ONE EVERY Trademark R<* U. 8. Pit. 1907 1333 Argyle St., Chicago Distributed Exclusively by General Film Company Tuinul B**. 0. a P.t- 1MI ■ January 5, 1918 THE MOVING PICTURE WORLD 47 COMING SOON! THE WORLD FAMOUS AUTHOR (Herself) in the Great Ultra Feature (By Herself) It Will Be the Sensation of the Film World Backed by a National Billboard Advertising Campaign 'l&ssgnoy Arrange Your Booking Dates at o jv c E ! Distributed by the George Kleine System throughout the United States la Answ.rinr Advertisements, Please Mention the MOVING PICTURE WORLD. 48 THE MOVING PICTURE WORLD January 5, 1918 Advertising Aid3 for the Busy Exhibitor. . 131 Advertising for Exhibitors 75 "An American "Widow" (Metro) 96 At Leading Picture Theaters 58 Ban on Bundles in St. Louis Theaters.... 125 Berst Closes Big Deal Contracts 83 "Betty Takes a Hand" (Triangle) 95 Brady Speaks for the Exposition 59 British Notes 70 "Brown of Harvard" (Essanay) 97 Calendar of Daily Program Releases. . . . 134 Campbell, Eric, Killed in Accident 53 Canada, Theaters for Hospitals in 121 Chicago News Letter 62 Comments on the Films 98 "Convict 993" (Pathe) 91 Cutting and Editing a Picture 89 Dayton and Miami Valley 'Still Shivering.. 120 Detroit Exchanges Stand for Enforcing Tax 122 "Devil Stone, The" ( Artcraft) 90 "Diamonds and Pearls" (World) 93 Educational Pictures — Opinion 51 Exemplary Convention. An 52 Exhibitor Has Found Strength Says Hod- ' kinson. 86 Export Items 70 Facts and Comments L 49 Fuel Famine, Theaters Close Because of... 119 Gardner, Helen, to Have Own Company 56 '.'Girl by the Roadside, The" (Bluebird)... 97 "Gown of Destiny, The" (Triangle) 95 Griffith Spectacle for Picture Theaters 83 TO CONTENTS Harlem Strand is Temporarily Enjoined... 58 Herrold Cantonment Theater Fears Failure. 126 "Her Sister" (Mutual) - 93 "High Sign, The" (Universal) 92 How Exchange Combinations Work Out 67 How It Is Done at the Strand 69 Important Happenings of the Past Year. . 87 Indianapolis Exhibitors Feel Discouraged.. 123 Indian Notes 69 "Just a Woman" (S & S) 92 Kansas City Trade Notes 124 Lightless Nights, Exhibitors Protest 120 List of Current Film Release Dates, 144, 146, 148, 150 "Love Letters" (Paramount) 93 Macpherson, Jeanie 86 "Madame Who" (General Film) 96 Manufacturers' Advance Notes 104 Marie's Beauty Not of Garden Variety. , 74 Maritime Theater Men Aid Halifax....... 117 Maryland Censor Board Earns $10,000 117 Mastbaum Again Says Something 52 More Cancellations Than Contracts 125 "Mother" (McClure) ,. 94 Motion Picture Educator 72 Motion Picture Exhibitor, The 60 Motion Picture Photography 82 N. A. M. P. I. Board Meeting 56 "Nearly a Papa" ( Christie) 91 New England Exhibitors Meet 60 New England Film Trade Doings 116 News of Los Angeles and Vicinity 64 New Tax Regulations 57 O. Henry on the Screen 50 Oregon, Big Demand for Comedies in 130 TO ADVERTISERS Paramount Chiefs Surrender Positions. ... 85 Parcel Post Delays, Some Reasons for 118 Photoplaywright, The. ' 78 Picture Theaters Projected 115 "Pride of New York, The" (Fox) 90 Producers of "Mother" Give Luncheon.... 85 Projection Department 79 Reviews of Current Productions 90 Rivoli Opens to Public December 27 54 "Sadie Goes to Heaven" (Essanay) 96 St. Louis, Big Soldiers' Benefit in 124 Seattle Exchange Organization Elects.... 128 Sending Films to American Boys in France. 84 "Sins of Ambition" (Ivan) 95 "Smashed in the Career" (Fox) 95 South, Good Crops and Prosperity in 122 Spokes from the Hub 71 Standard Buys A. P. Engraving Plant 83 State Rights Department 100 Stout, X. K., Tendered a Luncheon 127 Stories of the Films 137 "Struggle Everlasting, The" (Rapf ) 92 "Taming Target Center" (Paramount).... 94 Taylor, William D., Signs with Famous- Lasky : 63 Texas, Past Week in 126 Theaters in Out of the Way Places 85 "Thirty Days" (Christie) 91 "Unmarried Look, The" (Metro) 97 United Exhibitors Open Quarters 61 Unity Now Prevails In Industry 53 "Unknown 274" (Fox) 91 What Walsh Found in Goldwyn Studios.... 57 "When Men Are Tempted" (Vitagraph) . . . . 94 CARBONS AND CARBON ACCESSORIES. Speer Carbon Co 151 CHAIR AND SEATING MANUFACTUR- ERS. Du Pont Fabrikoid Co 152 Steel Furniture Co 138 ELECTRICAL, AND MECH. EQUIPMENT. Amusement Supply Co 151 Cushman Motor Works 133 Exhibitors' Supply Co 137 Moving Picture Machine Co lo2 Northwestern Electric Co 151 Porter, B. F 1;>2 Swaab, Lewis M 136 Typhoon Fan Co 152 United Theater Equip. Corp 155 Universal Motor Co 153 EILM EXCHANGES. Film Exchange, The 138 MANUFACTURERS OF INDUSTRIAL PIC- TURES. Erbograph Co 134 Evans Film Mfg. Co 152 Duhem M. P. Co 153 Gunhy Bros 137 Rnthaeker Film Mfg. Co 138 Sanborn Laboratory, Inc Ill Standard M. P. Co 138 LENS MANUFACTURERS. Crown Optical Co 147 Gundlach Manhattan Opt. Co 153 LOBBY DISPLAYS. Kraus Mfg. Co 137 Newman Mfg. Co 153 MANUFACTURERS OF MOVING PIC- TURES. Brickliss, J. Frank, Inc .. 43 Broadway Star Features 44 Clune Prod. Corp 136 Essanay Film Mfg. Co 3, 45-47 First National Exhibitors' Circuit 38-39 Four-Square Pictures 18 Fox Film Corp 24-25 General Film Co 44-46 Goldwyn Pictures Corp 7-9 Hiller & Wilk 34 Hodkinson, W. W., Corp Colored Insert Inter-Ocean Film Corp 19 Jewell Productions, Inc 2, 40-42 McClure Pictures, Inc 11 Monatfilm 141 Mutual Film Corp Colored Insert National Film Corp ; 26 Paralta Plays. Inc 20-21 Paramount Pictures Corp 12-15 Pathe Exchange, Inc., The. .Colored insert, 30-31 Renowned Pictures Corp 32-33 Select Pictures Corp 22-23 Triangle Distrib. Corp 16-17 Universal Film Mfg. Co 4-0 U. S. Exhibitors' Book Corp 2S-29 Western Import Co 36-37 Whartons Releasing Corp 10 W. H. Productions 35,129 World Film Corp 27 MISCELLANEOUS. Allied Exhibitors' Legislative Committee... 154 Automatic T. S. ft C. R. Co 138 Biograph Co 139 Bioscope, The 136 Cinema, The 151 Cine Mundial 147 Classified Advertisements 142 Eastman Kodak Co 153 Far Eastern Cinema Exchange Col 116 Kinematograph Weekly, The 137 La Cinematografia Italiana 152 Moore, Wm. N 136 M. P. Directory Co 151 M. P. World 145 M. P. World Publications 149 National Ticket Co 132 Our Boys In France Tobacco Fund 136 Sellers, Benj. & Sons 151 Sun Light Arc Co., Inc 135 Williams, A. F 137 MOVING PICTURE CAMERAS. Bass Camera Co 138 Burke & James, Inc 138 Gennert G , 147 MUSIC AND MUSICAL INSTRUMENTS. American Photoplayer Co 137 Marquette Piano Co 138 Sinn, Clarence E > 133 PROJECTION MACHINE MANUFACTUR- ERS. De Vry Corp., The 152 Enterprise Optical Co 138 Power, Nicholas, Co 156 Precision Machine Co 143 PROJECTION SCREEN MANUFACTUR- ERS. Gold King Screen Co 152 THEATRICAL ARCHITECTS. Decorators' Supply Co 153 In Answering Advertisements, Please Mention THE MOVING PICTURE WORLD January 5, 1918 THE MOVING PICTURE WORLD 49 ■mered at the General Post Office, New York City, at Second Class Matter Founded by J. P. CHALMERS in 1907. Published Weekly by the Chalmers publishing company Sl« FIFTH AVENUE, AT 43RD STREET, NEW YORK CITY (Telephone, Murray Hill, 1610, 1611, 1612, 1613.) 1. P. Chalmers, Sr President L F. Chalmers Vice-President E. J. Chalmers Secretary and Treasurer The office of the company ii the address of the officers. CHICAGO OFFICE— Suite 917-919 Schiller Building, 64 West Randolph St.. Chicago, 111. Telephone, Central 5099. PACIFIC COAST OFFICE— 6:a-611 Wright and Callender Building, Lot Angeles, Cat Telephone, Broadway 4640. SUBSCRIPTION RATES. United States, Cuba, Mexico, Hawaii, Porto Rico and Philippine Island j $3.00 per year Canada 3.S0 per year Foreign Countries (Postpaid)..... 4.00 per year Change* of address ahould give both old and new addreeaes in full and be clearly written. Two weeka' time ahould be allowed tor change. ADVERTISING RATES. Classified Advertising — One dollar for twenty words or less; over twenty words, five cents per word. Display Advertising Rates made known on application. NOTE — Address all correspondence, remittances and subscriptions to MOVING PICTURE WORLD, 516 Fifth Avenue, at Forty-third Street, New York, and not to individuals. ON EM UN DIAL, the monthly Spanish edition of the Moving Pic- ture World, is published at 516 Fifth Avenue by the Chalmers Publish- sag Company. It reaches the South American and Spaniab-apealung ssarket. Yearly subscription, $1.50. Advertising rates on application. Saturday, January 5, 1918 Facts and Comments HERE'S to the New Year. May it see the triumph of right over wrong, of justice over injustice. May it see swank and swagger in the army and navy and everywhere hide its head in shame in the face of genuine service for cause and couotry May it see efficiency replacing inefficiency all down the line ; may it see better business methods applied in every branch of our own industry ; may it bring better picture productions than the world has yet seen ; may it bring success to the cause for which we fight ; may it see the world made safe for democracy; may it bring health, wealth and happiness to every reader of the Moving Picture World. * * * ILL-CONSIDERED and short-sighted are mild terms to use in characterizing a great deal of the advice that is being sown broadcast over the land since this country assumed its active part in the conduct of the war. A particularly flagrant example of this half-baked counsel appeared in the newspapers a few days ago, linked with the name of a prominent New York banker. It does not take much consideration of the matter to show what will happen to business and trade generally if this advice to make last year's overcoat do, to invest in war certificates the price of the usual picture theater ticket and other similar sage ( ?) suggestions. It is astounding to hear a banker deliver himself of this sort of rot. Of all people, bankers should realize the dependence of the nation on trade and the interdependence of people in different trades on each other. V/here will the money come from to buy food and clothing, war certificates, war munitions and everything else, we would like to know, if we tie it all up in Red Cross and war certificates. PROMINENT bankers, however, are not the only blunderers in this respect. An unwarranted at- tack on picture exhibitors was contained in a cir- cular letter sent from Washington a short time since to all tax commissioners, containing the suggestion that theater managers were boosting prices and profits under the excuse of war taxes. Now comes a ruling by the fuel director or commissioner in regard to shutting off all electric signs on certain nights in the week. That this is an arbitrary ruling issued without any consideration whatever, of its result or effect on trade, is easily seen when we note its bearing on picture theaters. These signs should not be dark on the best business nights in the week for theaters. Exhibitors' Associations and Leagues everywhere should agitate for a modification of this rul- ing. The signs could be bright until, say, nine-thirty and if they must be dark on certain nights let it be those nights when they are of the least benefit. WE again lefer managers and theater owners to our new Department of Advertising Aids for Busy Managers. The information that we plan to give each week in this department, coupled with the Reviews and Comments on Films by our own staff, will furnish the most complete, most reliable and dependable information on films for the wide-awake exhibitor that can be compiled. This information combined with each exhibitor's knowledge of his own neighborhood and patronage should make for the most successful conduct of the business of every reader and subscriber. CONDITIONS in the film export trade in this coun- try have reached a pretty state surely when foreign buyers of American films have to advertise in our columns in an effort to protect the rights or property for which they have paid good money. If the trade needs one thing more than another just now, it is an organiza- tion of manufacturers to look into the whole export prob- lem and devise ways and means of handling the sale of positives so that their own foreign property rights will be secure as well as the ownership and rights of the buyers of foreign territory. One manufacturer a few days ago admitted that he did not know just how many copies were printed of each of his productions. No won- der that the South American buyer who had just paid this manufacturer a good price for exclusive copies was able to buy a new copy next day at a bargain price that had actually come from the laboratory of the manufac- turer. Was ever the situation in the trade of duping and stealing and dishonesty in worse shape than today? We question it. so THE MOVING PICTURE WORLD January 5, 1918 O. Henry onjthe Screen Robert C. McElravy THE success in adapting the stories of the late O. Henry from his own scintillating pages to the screen is so marked that it has a double impor- tance for the public. It not only reveals new possibilities for the moving picture, but it renders a new and valuable interpretation of the remarkable O. Henry plots them- selves. It would be a daring thing to say that O. Henry stories as photoplays are an improvement over the talcs as he himself wrote them. The writer would not presume to say that, conclusively, not having seen all of the screen numbers thus far released. But he has seen several of them — competent, carefully adapted photoplays, which retain admirably the O. Henry touch. Those he has seen suffer in no way in comparison with the original stories, and in some respects they are bigger, more vital and closer to life than the same narratives were upon the printed page. In fact, if he were living, O. Henry him- self would undoubtedly pronounce the screen version of "Whistling Dick's Christmas Stocking," with George Cooper as the genial hobo-hero, quite as enjoyable as his original short story, though -this, it should be stated, is not one of his more important tales. It may be that O. Henry is destined to gain his real permanency on the screen — a permanency many critics have been unwilling to accord him as a short story writer. The things he loses in transference to the screen — the ephemeral diction, valuable only to the time for which it was written,, and the shrewd, involved, but in a way unnecessary verbal byplay — these are the very things that puzzled and angered some of his readers. This excess material is largely curtailed in screen pro- duction, with just enough of it retained to give a proper seasoning. But the things in which everyone admits O. Henry excelled, the swiftly moving always original plot, the genuine flesh and blood characters, and the curious, ironical humor and pathos growing out of situations that impinge upon real life — these remain and are given fresh emphasis. Are not the things that appear in the photoplay after all the real O. Henry? Do not the screen stories have a certain dignity and sublimity along with their humor, that many of the short stories themselves lacked? O. Henry as an author represented a broader, deeper current of feeling than his surface style indicated. His stories were written in the smart, unliterary language of the late '90's and the early 1900's, an era from which war-sobered America seems already slipping away with incredible swiftness. It is doubtful if he could have written them in any other way and had the satisfaction of seeing them in print ! He was so far the victim of his times that he had to don the cap and bells in order to be heard at all. Slang and smart comment were demanded of the writers of that period. George Ade. instantly wise to his times, met the issue squarely. He adopted slang as his literarv medium, and succeeded in making an art of it, just as Charles Chnplin has since made an art of pie throwing. The Ade fables, now also screen favor- ites, as much perhaps as any other writing, contain a per- fect record of that period, which they at the same time satirize so laughably. And they are still moving forward with the new times, exposing fresh Orlandos and new Gwendolins and new Dulcineas — joy be with them ! But with O. Henry the case was different. His slang was a secondary extraneous thing, and much of it was no doubt simply a concession to the public taste of the moment. Part of it, it must be admitted, was sheer comedy relief, for O. Henry loved more than anything else to construct the drama of the underdog — the pathetic history of the man of the streets and the open road. Fortunately the light touch is preserved to a sufficient degree in the photoplays, by means of subtitles, piquant characterizations and the surprising plot action itself. While he frequently told tales with a deep, underlying pathos, the treatment is usually of a humorous sort, and this is happily maintained in the photoplays the writer has seen. As the writer stated in a previous review, the identity of an author seems to be more inherent in his plot con- ception than in the manner, or medium, of its telling. The conception is the thing that mirrors his sympathies and reflects his grasp upon life and humanity. O. Henry, by virtue of discriminating direction, is as much O. Henry in the current photoplays as in his fiction form, and has the advantage in the former of being more strongly re- vealed in those qualities for which the public loves him. And since his short stories as he wrote them are vulner- able to more or less just criticism, as above pointed out, it would seem that O. Henry is at least one author who has profited immeasurably in certain respects by screen adaptation. A] Few New Year's Peeps By Sam Spedon. WE are on the eve of a New Year and in the midst of a Merry Christmas. From the office boy to the general manager and the stenographer there is a strong realization of the greatness of the motion pic- ture industry, its present and future possibilities. All are determined to make it greater next year than ever be- fore. That's a good resolution and being a fitting time for resolutions, we hope that everybody's hopeful predic- tion will be realized. Gosh ! How we would like to say something real smart and wise to impress you all that we speak as an oracle and a genius. Every exhibitor, pro- ducer, distributor and other member of the industry has troubles of his own and will have them for all time to come. Just keep on doing and try to meet conditions as best you can. Anything we can do or say to help you, just let us know and we won't be bashful in expressing ourselves. We have asked more than forty-six persons what they had to say about the coming year and they all said about the same thing. Putting it in composite form everybody wishes everybody A Merry Christmas and a Happy New Year. Do You Know About It? Profiteering in junk films by passing them on to the uninitiated and unsuspecting. The whole industry should not fail to notify the film commissioners of the Govern- ment whenever it hears of this contemptible practice. The producers of the National Association of the Motion Picture Industry are willing and able to furnish a full and perfect supply of ,film without taking chances with irresponsible and unscrupulous individuals. As a Starter. The exposition to be held in New York City Feb- ruary 12 will start the ball rolling in 1918. Thirty thou- sand dollars will about put it over. January 5, 1918 THE MOVING PICTURE WORLD 51 Educational Pictures — Opinion ■ ® ** Louis Reeves f*«™°" THERE is an amusing element in opinion — it is so comically wrong at times, without foundation in fact, and it is occasionally just as stiff as it is stupid, but the kind I have reference to is that of judg- ment formed on evidence, whether trustworthy or not, such as public opinion. We know that the opinion of one political party may be bitterly opposed to that of another and yet both contain germs of truth. In re- . ligion, politics and society there are intense unities of opinion which it may mean martyrdom to oppose, yet which yield in time to enlightenment and the formation of correct opinion. Our present inclination is away from unity of opinion on most subjects and more toward con- clusions of our own as individuals. As a matter of fact there is an unsuspected value in these differences of opinion, largely due to our constant development. What was true yesterday becomes, because of our growth and changing circumstances, fake today. We are eternally adapting ourselves to new conditions. Opinion is not any more staple than forms of govern- ment, sects or social conventions. Perpetually in a state of discovery and advancement, we can attain no such thing as a complete settlement of opinion on any subject for all time to come. It must be remembered that states of mind are not like the multiplication table, else we might become stagnant. We are in constant assertion and revolt, in discussion and dispute, hence an important element of the drama. All this need not stand in the way on our reaching a right view of what is going on in our midst today, and we can make each discovery of the truth a basis for further exploration. Whether general opinion takes the form of relief, or of simply of a good guess, there are times when it hardens to an established faith, to be tenaciously cherished. Witness the idea of President Wilson that "we must fight for the ultimate peace of the world and the liberation of its peoples, the German people included, for the rights of nations great and small and the privilege of men everywhere to choose their way of life and obedience. The world must be made safe for democracy." Here is an effort made to accomplish a really great end, but the President had to deal with a national state of mind. The end in view was in many cases so dimly perceived, or so outrageously misconstrued thrit it be- came necessary for him to take possession of our thoughts and illumine them with a brilliant expression of opinion, one carefully conceived and so clearly presented as to clarify our activities and the aim behind them. His opinion is of high value because of its incisive truth and because it is directed toward promoting our progress. From a state of apparent indifference to remote danger, the whole country has been aroused by such shining opinions until the energies of the nation are now directed, as by a common impulse, toward righting world wrongs and guarding our own future from perils hitherto un- foreseen. So any great opinion may become an estab- lished belief. It may not stir a nation to action, but it may operate to reclaim men and women who are going in the wrong direction, to protect immature minds, to effect legislation, and even secure the enactment of laws more just, or designed to accomplish some definite good end. Whatever the intrinsic merit of an important opinion, it cannot become generally effective until its force is widely and deeply felt. Right here I oppose those scien- tists who claim that opinions are formed by an intellectual process. The screen story of sentiment has disproved any such theory, especially in the case of women and children, whose sympathies cannot be easily reached through logical argument. What they think springs largely from desires. Those desires must be satisfied be- fore a message can be deeply impressed. Their minds start with sensation and work through sentiment to a conception. The conception may then be compared to others and harden to opinion. The screen story of splendid purpose, set forth in terms of sentiment, thus becomes an educational instrument, though it may not be so designed at the outset. There is desire in the minds of a very large percentage of those who attend the picture shows, a craving for amusement, excitement, entertainment, something to stir the sensi- bilities, hence the audience mind is more readily reached when addressed through feeling. Settled opinion does not depend upon evidence so much as we imagine — some of our greatest faiths are independent of proof — but upon interest. The short cut to interest is through feel- ing, the surest route and the quickest through desire, feel- ing and interest to opinion. By way of illustration, a dramatist wishes to "do his bit" to establish the opinions set forth by President Wil- son. To tell us that "the only way people can express will is through democratic institutions" is to state an in- tellectual opinion, but if it can be shown on the screen in a story appealing powerfully to human sympathy, it will reach out to tens of millions now suffering depriva- tion because of the European war, who are not fully aware of why we should contribute so heavily from our energies and wealth. Such a story might show that an autocratic form of government, out of harmony with human rights, should cease to exist. The splendid efforts we are making along lines long deemed necessary by the wisest Americans are the result of established opinion among our leaders, most of them enjoying a new elevation of sentiment, but the part we are yet to play in this tremendous world drama may de- pend upon the united opinion of all the people, humble as well as great. Moving pictures can be made educa- tional in bringing about that unity, in knitting us closer together, in softening our hearts to a common sympathy with the oppressed across the seas, in teaching us to know their deep wrongs and hide the pain we feel. For the relief of suffering, for the encouragement of those whose hearts are none too strong in time of trial, for the extension of our cherished ideals to people in other parts of the world, for all that stimulates nobility of character among ourselves, motion pictures offer the most effective medium at present known, not only be- cause they reach out to the greatest number, but because their approach to the human heart is made along lines of the least resistance. Just as there is practical utility in every step we take as a people, there is nobility in every silent self-sacrifice, a national kindness of heart behind it all, sure evidence of enlightened opinion. Our conduct as a nation depends very largely upon the opinions we hold. Where we are faulty in conduct we can only be improved by changing our opinions. Coercion has proven a failure. Might cannot rule us as it does the Germans, from whose undetermined minds evidence is withheld that right must prevail in the end. The surest educational methods are those direct ones which create widespread correct opinion. Ideas now, to- morrow and alwavs will rule the world. 52 THE MOVING PICTURE WORLD January 5, 191 rt Mastbaum Again Says Something By Sam Spedon STANLEY MASTBAUM of Philadelphia writes a letter to the Moving Picture World calling atten- tion to an article published in some of the news- papers which he entitles An Attempt to Kill the Goose that Lays the Golden Eggs: "I respectfully call your attention to an article that appeared in the Philadelphia North American, issue of December 15, which I presume has been syndicated throughout the L>nited States. "What have you to suggest as to some form of con- certed action to protest against sending out notices of this sort from Washington ? "STANLEY V. MASTBAUM." Omaha, Neb., Dec. 14. — Pleasures should be forgotten during the war to a large extent and the money invested in war savings stamps or other Government securities, said Frank A. Vanderlip, national director of the war savings campaign, in an address here tonight. "Store up your pleasures as you would store up money in the bank," pleaded Mr. Vanderlip. "You will enjoy them tenfold later, at the right time, and with a clear conscience. "More than half the zest is taken off pleasure and enjoy- ments now because of the terrible things that are happen- ing all the time and the suffering the whole world is going through. I am not asking you to be sad or doleful — that is quite unnecessary — but if you have a heart you won't get a tenth part of the normal enjoyment out of a pleasure or a luxury in these times, when every newspaper you pick up brings you a sense of the suffering and agony of so many millions of your fellow-men. "These war savings stamps are the most practical aid that could be imagined in helping you to store up your pleasures. Instead of buying that theater or movie ticket you buy a thrift stamp. Your money goes direct to the war coffers; you have the satisfaction of feeling that you have helped win the war, and you have stored up a greater pleasure for the future." Frank A. Vanderlip in addition to being national director of the War Savings campaign, is president of the National City Bank of New York. Once upon a time Mrs. Vanderlip addressed the housewives' associa- tion of her home town, advising them to conserve and economize in every way they could to help win the war. Someone asked why Mr. Vanderlip was building a large stone wall around his vast estate. He replied he was giving employment to a great many men in constructing the wall. Yet in the face of this statement he advises people not to buy tickets for "movie theaters" and inve Brady Speaks for the Exposition Say. Those Who Make Exhibit Will Reach the Public and Increase Business. By William A. Brady. THERE are so many good reasons why the progressive producers of film and motion picture equipment will find it advantageous to exhibit at the Motion Picture Exposition in Grand Central Palace next February that it seems to be a point scarcely worth while arguing. Primarily those who exhibit will do so to increase their business, and every concern at the exposition can increase its business if that concern will make the right sort of attack. Let it be aggressive — convey the idea that it is alive and able to deliver the goods and bigger business will result. Of course, there are those who will attempt to tell you that exhibiting is not worth the effort— not worth the cost of floor space. They are the same ones who seem to think that cheap actors are as good as real artists — the same ones who will not engage a high-priced star for fear it will not pay. They seem to lose sight of the fact that the big star has a following that is worth big money, and likewise as regards the Exposition they seem to forget that it will have its following of the biggest exhibitors and distributors in the industry, hundreds of whom will travel across the country to attend the Exposition. Let the skeptical ones get it into their heads that in taking space they are not merely renting so much space as they might in a storage warehouse — no — they are securing space and also the privi- lege to display their goods to thousands of interested motion picture exhibitors who are in New York for a few days to look into what is now in profit-producing. It is a case of "catch 'em while they're hot." Now if this Exposition were merely some private pro- moter's scheme to make a "clean-up" for himself, as has been the case of some expositions in the past, I should not be as emphatically in favor of it. I should turn around and say, "Let the National Association run a show of its own," which is precisely what is being done in the case of the coming exposition. It is under the joint auspices of the National Association of the Motion Picture Industry and the Motion Picture Exhibitors' League of America. That ought to be sufficient guarantee for anyone that the exposition will be thoroughly representative of what is best for the industry. The bigger and better it can be made the more business exhibitors will do. Once again the watchword "cooperation" becomes the keynote. By helping the industry as a whole we help ourselves. "Unity of action spells success." Motion picture distributors and exhibitors can learn some- thing new every day of their lives if they keep their eyes and ears open. There are none of us so familiar with every- thing used in connection with motion pictures that we can walk through Grand Central Palace when the exposition opens and fails to find something new and advantageous to our business. The automobile and motorboat industries were built up principally through the exchanges of ideas and signing of contracts for distribution at their annual expositions. Hundreds of thousands of the general public visited these expositions and became enthused over cars and boats. Last February the aeroplane manufacturers held an exposition in Grand Central Palace, and it was a very fortunate thing they did, too, for it resulted in many de- cided advances in the industry upon which we depend largely to win the war. The florists and horticulturists, the chemical industries, the electrical goods makers, the hotel men, all have their expositions and pay the concerns who exhibit, as is evidenced by the fact that they exhibit year after year and that the expositions grow bigger each season. Now' the motion picture industry is wholly dependent upon the general public. The more movie "fans" we can create, the more business we do. All the more reason why we should cooperate in every way to get more of the public interested in motion pictures. Thousands of visitors at the forthcoming exposition will go home and talk to their families and friends about what they saw of exceptional interest. The greatest advertising in the world is word- of-mouth recommendation and praise. That is what all printed advertising aims to inspire. It must be borne in mind that any big metropolitan exposition numbers visitors from many parts of the country, for a large percentage of New York's pouplation is made up of visitors from other cities and they go back home and talk of what they saw in Gotham. In short, news of an exposition like the forthcoming one goes all over the country and increases the prestige of the motion picture industry and makes more movie fans, in addition to making increased business for film people. HOW FOX HAS EXPANDED IN THE WEST. Just two years ago, in December, 1915, William Fox sent his first company of motion picture players to Los Angeles. William Farnum headed this pioneer organization of about thirty persons. The Fox forces now have working regularly on the Coast four dramatic companies and five comedy com- panies, in addition to the periodic production of spectacular photoplays. The corporation has expanded in California from a con- cern originally covering less than an acre of ground there to one now owning five acres in Hollywood, fifteen on Western avenue, and ten acres in locations at Silver Lake, Fernando- Valley and Chatsworth. Where there were at first only two- stages, Mr. Fox now has eight in constant use, and will undoubtedly have to build more within the near future if the present rapid expansion continues. To reach this high state of development, the corporation spent more than $1,- 000,000 during the first year following its invasion of the Coast. TWO MORE STARS ON TRIANGLE SERVICE FLAG. Two more stars will be added to the service flag at the Triangle Culver City studios this week. J. R. McGlone, who- worked in the Employment Bureau, has enlisted in the United States cavalry. Although under twenty-one when the draft law went into effect, McGlone could no longer withstand the lure of the olive drab. Perry Evenvold, who has been Triangle-Keystone director, and Reggie Morris'' cinematographer for more than a year, has joined the marines. WILFRED LUCAS WILL STAGE BLUEBIRD PLAYS. Wilfred Lucas, one of the most skillful directors in the photoplay industry, has joined the directing staff of the Bluebird studios at Universal City, Cal., and will start shortly upon his first Bluebird photoplay, which will feature Ruth Clifford and Monroe Salisbury. Mr. Lucas, as is well known, is something of a pioneer in the cinema world, having the distinction of being the first dramatic leading man to desert the stage for the motion picture screen. "THE SEVEN PEARLS" GOOD, SAYS MOSS. "The Seven Pearls," the Pathe serial featuring Mollie King, Creighton Hale and Leon Barry, released in Septem- ber, has been a success through every one of its fifteen episodes, according to B. F. Moss, the owner of a circuit of theaters in New York City catering to the best people. "'The Seven Pearls' had a good story and was well put on," said Mr. Moss when asked to what he attributed the hold this serial had obtained upon his audiences. HARRIS IN MARINES; SENDS GREETINGS. To the exhibitors and friends of Sidney Harris, late of Goldwyn, he wishes to etxtend Christmas and New Year'* greetings, and regrets his inability to be with them this- year owing to the fact that he has joined the marines. STRAND SERVICE FLAG HAS 21 STARS. The Strand Theater service flag has twenty-one stars rep- resenting the following employees now serving under the colors: Bruce Weyman, 1st American Aero Corps, stationed in France; James McManus, Fordham Ambulance Corps, France; Harry Johnson, 7th New York, Fort Wadsworth; William McFetridge, U. S. Heavy Artillery, France; Vincent Cruise, 2nd Field Artillery, Camp Wadsworth; Arthur Bur- nett, 7th New York Medical Corps, Camp Wadsworth; Francis Sutherland, Bandmaster 1st N. Y. Field Artillery, Camp Wadsworth ; Jack Fosket, 302nd Engineer Corps, Camp Gordon; Bernard Skahill, Naval Academy, Bancroft Hall, Annapolis, Md. ; William Lebish, U. S. Regulars, Per- shings, France; James Murray, 69th Regiment, France; Rob- ert Foskert, Harvard College, attached for wireless instruc- tion by U. S. A.; Arthur Depew, Jr., U. S. Regulars, France; Percy Eleman, Signal Corps, British Army, France; William Dobbs, 302nd Engineers, Camp Gordon, Ga. ; James Clark, 306th Supply Co., Camp Gordon, Ga. ; Jack Faeder, 307th Field Artillery, Camp Upton; R. Bustanoby, Military Acad- emy, West Point; Roy Whitelaw, U. S. S. Indiana; William Broderick, U. S. S. McDonough, U. S. Torpedo Fleet British Waters; Charles Blumenthal, Battery E, 2nd N. Y. Field Artillery, Camp Wadsworth. 60 THE MOVING PICTURE WORLD January 5, 1918 g- g. g> g> g g g g. g-. ^ gs IS gS §5 <£• g • : EH -^ 51 ^ -s 21 Si S 51 %> 51 Si 51 'S"^ P 5 fl £ $ $ 77i£ Motion Picture Exhibitor k* «5> s- r° &r- ht» g« g- g- *r» gr» g-« ?« gg gr • • • 1 -^ -a -s> -s> -s -s s g| »s> gj »§ -^ »> g§ 31 THE MOVING PICTURE WORLD carries the most complete record of Exhibitors' News. This department aims at being the fullest and fairest chronicle of all the important doings in the ranks of organized exhibitors. To keep the department as com- plete and as useful as it is now we request the secre- taries of all organizations to favor us with reports of all the news. Coming events in the ranks of the or- ganized exhibitors are best advertised in this depart- ment of the Moving Picture World. Organizer Rogers in Portland Holds Enthusiastic Meeting of Oregon Motion Picture Exhibitors' League. DG. ROGERS, national organizer of the Motion Picture Exhibitors' League of America, called the Portland, Ore., exhibitors together at the league rooms in the Majestic Theater Building, Saturday, December 15, and enthused them more than they have been for some time. Mr. Rogers struck a popular chord when he began by saying that the first thing that attracted his attention when he came to Portland was the statement by a man there that the moving picture was worse than the saloon. "I say that the motion picture industry is as good as the churches," said Mr. Rogers, commenting on the statement. "I say there isn't an institution in the world that gives more good for fifteen cents than the motion picture." Mr. Rogers spoke of the strong support the motion picture industry was giving the Government in the war, told of the conditions in other parts of the country and showed the Portland men they were not alone making sacrifices for the benefit of our country. Speaking of the advance deposits, Mr. Rogers stated that the abolition of that unfair institution rested entirely with the motion picture men. He made many suggestions for the betterment of the league, which the local men will act on. There will be an election of officers about the first of the year, at which time the new plans will be acted upon. Mr. Ochs Makes a Statement. The resolution adopted at the Convention of Exhibitors, held in Washington, December 11-12, in which reference is made to the "action of the National Association of the Motion Picture Industry in filing criminal charges against the Motion Picture Exhibitors in Brooklyn," etc., is in error, as the National Association has taken no such action whatsoever. What the introducer evidently intended to infer was the action which was taken by the Distributors' Branch and which was not a concerted action taken by the National Association of the Motion Picture Industry, repre- senting four other branches of the trade. [The foregoing statement has been issued by Lee A. Ochs, chairman of the convention that adopted the resolution here referred to. His failure to call attention to the error at the time the resolution was introduced probably was due to an oversight. — Ed.] New England Exhibitors Meet At Annual Gathering of Massachusetts and Rhode Island Leagues It Is Decided to Send Large Delegation to Exposition. THE annual meeting of the Massachusetts and Rhode Island branches of the Motion Picture Exhibitors' League of America was held at the Quincy House, Boston, on the afternoon of Tuesday, December 8. About fifty members were in attendance. Ernest H. Horstmann, acting president, was in the chair. The reports of the various officers for the past year were read and accepted. The four delegates to the recent con- vention in Washington — Messrs. Horstmann, Black, Lydon and Conn — made detailed and comprehensive reports of the happenings and of the work accomplished in Washington and New York along get-together lines. The reports were enthusiastically received, and a vote of thanks was tendered to* the committee. Sam Grant, assistant manager of the National Motion Picture Exposition, which is to be held at the Grand Central Palace, New York City, February 2 to 10, made a report of the successful outlook, and it was voted to endorse and support the exposition in every way and to send a delega- tion of at least 100 Boston Boosters to the New York exposition. The following committee was appointed to arrange the details, including special cars, hotel arrange- ments and special features: Messrs. Gregory, Jake Laurie, Kincaide, Wasserman and Howard. It is planned now to have the party leave Boston on the Knickerbocker Limited at 1 p. m. of Tuesday, February 5, and spend Tuesday night, Wednesday and Thursday at the exposition. Judging by the enthusiasm and interest dis- played by those present the party of New England invaders will number at least 200, including the Boosters, their wives and friends. It was also voted to appeal to the film manufacturers, distributors and the supply and accessory men to give this, the first joint National Exposition, their fullest support and co-operation. Owing to the fact that it was reported a number of the members had failed to secure their notices of the meeting in time to attend it was decided to postpone the election of officers until Tuesday afternoon, January 22, at 2 p. m., at the Quincy House. Following the election a banquet will be held in the parlor of the hotel at 6:15 p. m. Among those present were : Messrs. Lord, Somerville, Montague, East Boston; Eyester, Boston; Moscow, Cam- bridge; Mailey, Brighton; Black, Lowell; Nelson, Lowell; Conn, Providence; Hodgdon, Wakefield; Daniels, Lynn; Ramsdell, Maiden; Benelov, Waltham; Gregory, Dor- chester; M. J. Lydon, Dorchester; P. E. Lydon, South Boston; D. Laurie, Boston; J. Laurie, Boston; Howard, Boston; Hartford, Providence; Grant, Boston; Hamilton, Dorchester; Dadmun, Boston; Wasserman, Roxbury; Kin- caide, Quincy; Gilman, Dorchester; Drown, Swampscott; Horstmann, Lynn; Giles, Framingham; Somerby, Boston; Brown, Allston ; Sumner, Boston; Ryan. Attleboro ; Bolen, Providence, R. I.; Walsh, Roxbury; Rollins, Boston; Tra- ham, Centerville, R. I.; Mrs. Ayers, Boston, and Mildred Champagne, Boston. Coming League and Other Exhibitors' Conventions (Secretaries Are Requested to Send Dates and Particulars Promptly) Michigan State Association of Exhibitors at Majestic Theatre, Jackson, Mich.. . .January 7 and 8 January 5, 1918 THE MOVING PICTURE WORLD United Exhibitors Open Quarters Showmen of Philadelphia and Its Vicinity Hold Meeting in New York — William Alexander, Representative. THE United Exhibitors' Association, Inc., which includes in its membership motion picture showmen in Phila- delphia and its vicinity, held a meeting at the Hotel Astor on Friday, December 21. There were thirty-six mem- bers present, representing 109 houses with a total of 156 days' bookings. In attendance were the officers elected at a previous meeting. These were: President, Robert W. Kincade, Philadelphia, owner of a chain of theaters ; vice- president, Edward J. O'Keefe, Atlantic City, N. J., three houses; secretary, Joseph McCready, Philadelphia; record- ing secretary, Jay Emanuel, Philadelphia; treasurer, Will- iam J. Freihafer, Philadelphia, chain of theaters; also a board of directors of fifteen members. A committee of five was appointed to negotiate an amal- gamation with the Motion Picture Exhibitors' League of America. The meeting was addressed by representatives of the home offices of the various distributing companies. It is said 80 per cent, of the houses in the organization formerly booked through the Stanley Booking Company, of Philadelphia. In the 109 theaters represented are the J. Fred Nixon-Nirdlinger and the Freihafer chains of houses. The organization will establish headquarters in New York, which will be in charge of William Alexander. REEL TAX FIGHT KEEN IN ST. LOUIS. The Exhibitors' League of St. Louis, through its president, Joseph Mogler, has issued strict orders to its members to "stick to the last" against paying the IS cents per film assessed against exhibitors by the film companies. The "war" between the film men and exhibitors over this charge is growing keen there; many of the houses have canceled all contracts for films on which the assessments have been proposed, while some of the film managers have received orders from New York to refuse release of any film to exhibitors who do not pay the assessment in cash in advance or at the time of the release. Many of the exhibitors have large sums now held against them on the books of the film offices. Collection of the assessments for back films will, in all probability, reach the courts, as the only possible solution of the difficulty. This action is already being discussed among the exhibitors. NEW YORK LOCAL TO MEET DECEMBER 27. Manhattan Local No. 1 met at its rooms at West 42nd street, on Wednesday, December 19. The meeting was called to hear the reports of the delegates who attended the joint convention of exhibitors at Washington, December 12. . After the hearing of the reports the meeting entered into a discussion of election of officers for the coming year. It was decided on motion that a special meeting be called for Thursday, December 27, at 11 A. M. at the headquarters, 218 West 42nd street. It was decided that at this meeting the advisability of requesting an amalgamation of the three local exhibitors' organizations be taken into consideration, also the selection of new league rooms be acted upon. This meeting will undoubtedly be the most important of the year and all the members are earnestly requested to attend. MICHIGAN EXHIBITORS' CONVENTION. The Michigan State Association of Exhibitors, branch of the A. E. A., will meet at Jackson, Mich., in the Majestic theater, January 7 and 8, for its annual mid-winter conven- tion. President S. A. Moran is sending out notices to that effect to all exhibitors, requesting that they attend and participate in the discussion of the most important problems confronting the exhibitors of the State. A large crowd is expected. EXHIBITORS URGE CHANGE IN TAX LEVY. The Motion Picture Exhibitors' Association of the North- west, of which James Gilosky is president and Clyde H. Hitchcock is secretary, has issued an appeal to Congress asking it to change the present war levy on the motion pic- ture industry. The association favors paying a tax based on gross receipts rather than one cent on ten or fraction. It proposes to Congress a fiat 10 per cent, payment on the entire business of the theater. The meeting was held in Minneapolis, November 30. Present were exhibitors from Minnesota, North and South Dakota and Wisconsin. Exhibitors' League, which position was made vacant re- cently by the death of G. A. Sahner. The election of a permanent secretary will probably be deferred until the annual meeting in June. Miss Beatrice Dobson is acting as assistant secretary, and is in charge of the league head- quarters, McCance building. FOX PUSHING SOUTH AMERICAN TRADE. Photographs which recently have been received here of the branch offices of the Fox Film Corporation in Rio de Janeiro are labeled by the manager: "Just to remind you that this office was the first one established by William Fox in South America." As a matter of fact, according to the Fox management, the Rio de Janeiro office was one of the first the corpora- tion established outside of the United States. Fox also claims credit for having been the first American producer Rio de Janeiro Fox Office. to invade the South American field with big five and six-reel features. The policy, it is claimed, has justified itself, bring- ing success where other shorter, lighter pictures had largely failed. The propaganda work of the Fox institution in South America is done exclusively by persons in the employ of the New York office and is directed from this city. It is con- tended that the success which attended the branch office policy as applied to Rio de Janeiro was largely responsible for Fox's extension of this plan to practically all of the South American territory. FEITLER, TEMPORARY SECRETARY, PITTSBURGH LEAGUE. - M. Feitler, of the Elmore theater, is serving as temporary secretary of the Pittsburgh local of the Motion Picture GIEGERICH WITH PATHE. Charles Giegerich, who has had long experience in the motion picture industry and principally known as a sales and publicity promoter, is now connected with Pathe's publicity department. Mr. Giegerich organized the publicity department and designed the trade mark of the Vitagraph — V. S. L. E. — and as publicity director of that company originated and edited its unique house organ and wrote the initial sales letters on the features released by the four contributing producing companies. For the Pathe Company Mr. Giegerich will devote atten- tion to publicizing Big-Star-Big-Story features and several of the special de luxe productions that Pathe will present during the coming year, beginning with Rudyard Kipling's "The Naulahka." The "Pathe Sidelights," a press sheet of pertinent notes written in a light vein, will also be a part of his weekly contribution to the newspapers. 62 THE MOVING PICTURE WORLD January 5, 191S 1 Chicago News Letter By JAS. S. McQUADE CTs, ^^feUi The Testing of the Business Shall Existing Evil* Be Uprooted or Permitted to Remain and Let Things Take Their Uncertain Course? THE year 1917 has been a year of testing for the mov- ing picture industry, but only of preparatory testing. The duration of the war and the uncertainty of its tlose promise vital testing for 1918, if not for the years immediately following. This, instead of making more fear- ful or despondent the men who have in their keeping the three great departments of the business, should act as a stimulant on every man in it to safeguard the business against all odds. It is undeniable that the business heretofore has been con- ducted extravagantly by the producing and distributing departments, while those engaged in the exhibition of pictures have been just as extravagant in their way and just as selfish in their ends. There has been a lack of sympathy and of mutual under- standing, and even of the desire to cooperate for the good of the business, in all departments of the industry. In the producing end it has been a case of every man for himself and the devil take the hindmost. And this has led to the building up and the support of an expensive dis- tributing system by each of the producing companies which, in combination, impose on the business a burden that cannot be borne much longer. And, certainly, it cannot be borne, if the war continues two or three years longer. In addition, stars have been created by the demands of moving picture fans, the annual income of each amounting to more than the average wealth of well-to-do people, while exhibitors have failed to raise their admission prices cor- respondingly to meet the increased cost of their programs. And here we have an added burden on the industry. This evil also will be tested by a prolonged war, and it will be shown that it cannot be borne. In their mad competition for business the exhibitors have accustomed their patrons to a complete change of programs daily, a custom which can be pronounced one of the greatest extravagances in the fifth industry in the United States. This led to a forcing of the producers to double and treble their output, often at the cost of art and finish in their productions, never to speak of the great extra capital in- volved, or the tendency to make moving picture entertain- ment cheap and commonplace. The neighborhood theater was the chief cause of this exorbitant demand, and poor showmanship on the part of the exhibitor led to its being granted. A prolonged war will, most likely, lead to the discon- tinuance of this evil. And this brings us to the question, "Is it necessary to await the uprooting of these evils by the enforced rigors of war rather than by the workings of cautious foresight on the part of the men in all branches of the industry?" This is not a time to be blind to our interests when we know that harder times are yet to come. Is it not a time when there should be a great, combined getting-together of producers, distributors and exhibitors? Is it not a time when our national conventions should be held for the three great departments of the business, and the proceedings earnestly participated in by all of them for the general safety of the industry and the protection of all? It is certainly not a time when the affairs of this great industry should be permitted to drift and take their un- certain course. Chicago Film Brevities. Patrons of the Perfection pictures program are awaiting with considerable expectancy the first release of the series of one-reel comedies written by James Montgomery Flagg, the well-known artist who is noted for his beautiful crea- tions of varied types of girls in black and white and in colors. These pictures, as should be already known, bear the Edison brand and will be released every alternate week, beginning January 2. There are twelve comedies in the series and the George Kleine system expects they will meet with great popularity by patrons throughout the country. * * * The license committee of the Chicago city council met i hursday morning, December 20, to determine the question of increased licenses on moving picture theaters seating 4U0 people and upwards. After a brief discussion, at the ?!r g D eS ii ,0 i n °J J° se P h H °PP. president of Chicago Local M. P. E. L. of A., it was decided to put the matter over until after the holidays for final disposition, when the committee will again meet on the call of its chairman. The license committee also held a conference with ex- change managers regarding the final disposition on the in- crease of their licenses and a sub-committee was appointed to visit the exchanges of the city and ascertain what would be a proper and fair increase. Ike Van Ronkel, manager of the Jewel Film Corporation,- informed the committee that the larger exchanges could afford the increased license, but that it would put the smaller exchanges out of business. * * * A joint committee of the M. P. E. L. of A. and of the M. P. T. O. Association, comprised of Joseph Hopp, Charles Stuart, Herman Krug and August Zilligen, Jr., called at the office of the city fuel administrator last week, in the State Council Defense Building, 120 West Adams street, to discuss the matter of lightless fronts at night for moving picture theaters. They suggested to Administrator Williams that Monday night be substituted for Sunday night, but were informed that National Fuel Administrator Dr. H. A. Gar- field, Washington, D. C, was alone empowered to make the change. The city fuel administrator explained that the Government had no intention to be unreasonable in the matter of lights on lightless nights, as two arc lamps can be used in front of each house, or, if canopy lights are used, that half of them can be kept burning; also that in case the theater has arch lights that a few of these can be kept burning. Administrator Williams was explicit, however, in stating that all house electric signs must be darkened on; prohibitive nights. * * * Luman C. Mann, who for several months past has been in the United States Aviation Corps at Fort Sill, Okla., was given an honorable discharge on December 4, due to ill health. Mr. Mann is now back with the Owl Features Incorporation, in this city, and his numerous friends have* been surprised to see him once more in civilian clothes. If Mr. Mann's health permits, he hopes to get into the camera division of the army in the spring. I have read the honor- able discharge given Mr. Mann by T. J. Fuller, Jr., acting adjutant and commander of the cadet attachment, which says in part : "In his classes he averaged above 90 per cent, when 100 per cent, was the maximum. His work was highly commended by his instructors. His health, however, was such that he was unable to perform all the duties required of him. I take pleasure in recommending him as a thor- oughly reliable and intelligent soldier, worthy of any trust, and capable for any work which does not subject him to physical strain." * * * The Allen Film Corporation of this city, gave an invitation showing of "Mother" at the Ziegfeld Theater, Wednesday afternoon, December 19. The Grainger Film Corporation owns the rights to this picture in Illinois, Michigan, Iowa, Nebraska, Kansas, Missouri, Oklahoma, Texas, Arkansas, Ohio and Indiana, and the Allen Film Corporation will at« tend to its distribution in the territory mentioned, the re- lease date being set for February 1. This six-reel feature has been adapted from Eden Phillpotts' novel of that name, the production being made by the McClure Pictures, of New York, under the direction of George Loane Tucker. Elizabeth Risdon appears in the leading role. January 5, 1918 THE MOVING PICTURE WORLD 63 F. M. Brockwell, for some time past manager of the Goldwyn Chicago branch office and previous to that asso- ciate manager of the Central Film Company, has resigned from his position with the Goldwyn company to become manager of the Paramount Chicago branch office under the direction of Max Goldstein, to take effect January 1. Sidney Goldman will succeed Mr. Brockell as Chicago man- ager of the Goldwyn branch. * * * Members of the M. P. E. L. of A. and of the M. P. T. O. Association of America throughout the state of Illinois are decidedly against the enforcement of lightless nights on Sundays, as it will work a big injury to the business. On Sunday nights all store lights are out, which renders the streets entirely dark except for the lighted fronts of picture theaters. To put out the lights in front of picture theaters would make the streets completely dark and render them practically dead, as people do not care for traveling in dark streets these winter nights, subject to hold-ups and other dangers. Exhibitors generally strongly advocate that if there must be two lightless nights, as ordered by Fuel Administrator Garfield, it is preferable to have some other night than Sunday chosen. James A. Garfield, fuel administrator, selected Thursday and Sunday for the two nights a week when the lighted fronts of theaters will be darkened. It is the general desire of the owners of picture theaters throughout the state that the lightless-front nights shall be changed to Thursday and Monday. All dramatic and vaudeville theaters also join with exhibitors in having lightless nights changed to Thursday and Monday. * * * Fred M. Hartman, assistant national exposition manager, arrived in the city Monday, December 17, having visited Washington, Cleveland and Indianapolis on his way to this point from Manhattan, in the interests of the New York exposition which will open February 2. Mr. Hartman has been very busy in Chicago since his arrival, securing space buyers. I understand that Mr. Hartman has been very suc- cessful, both in Washington, Cleveland and Indianapolis, in this respect and that he is doing well in the Windy City. * * * The management of the Virginia theater at 208 East Forty-third street, this city has donated the theater to little Mary McAllister from 9:30 o'clock until noon, on Christmas Day, when hundreds of orphans and poor children will be entertained by viewing little Mary's latest film, "Sadie Goes to Heaven." * * * Warren Kerrigan in "A Man's Man" and Bessie Barriscale in "Madam Who" were seen at the regular exhibition given for exhibitors in the Selig Polyscope Company's private projection room Thursday morning, December 20. These are the first of the Paralta productions which will be released through the General Film Company. The release 'date has not yet been decided upon. ' * * * Harry Birch, the Mutual Weekly cameraman, had a nar- row escape from severe injuries or death on Sunday, De- cember 16. While motoring in a big passenger car to Jack- son Park, this city, accompanied by five young women who were to pose for the Mutual Weekly, his car was hit by a street car and his right shoulder dislocated. The young women escaped injury, but were badly shaken up. * * * George Periolat arrived in the city from the coast last week and will take a vacation of about two months. Mr. Periolat is widely known as a member of the American Film Company's players whose fine characteristics and artistic make-ups have won him a large following. * * * A. S. Dowd, at one time special representative for Uni- versal's Screen Magazine, Current Events and Animated Weekly, has been appointed sales representative of the Universal Film Manufacturing Company, working directly under E. H. Goldstein, general manager of Universal ex- changes. Mr. Dowd expects to leave for the Detroit office about the opening of the new year, and after organizing a staff of special salesmen in that city will proceed to Buffalo. He will afterward make a round of Universal .exchanges throughout the country. Irving N. Mack, publicity manager for Universal's Chicago film exchange, was recently ap- pointed service manager. He will be given charge of the sales promotion department in this city when Mr. Dowd leaves for Detroit. * * * Federal Judge Carpenter, after viewing "The Rose of Blood," refused to issue an order restraining the city from interfering with its showing. The Chicago representatives of the Fox Film Corporation have taken the case to the circuit court of appeals, where it will be brought up in about four or five weeks. * * * Attorneys for Charles Chaplin were granted an injunction from Federal Judge Carpenter last week restraining the Strand Feature Film Company from using a counterfeit Charlie Chaplin film, pieced together with cuts from other films in which the real Charles Chaplin had appeared. William D. Taylor Signs With Famous-Lasky WILLIAM D. TAYLOR, the well-known director, has signed up for a long term with the Famous Players- Lasky-Morosco forces. This is Mr. Taylor's third contract with the Paramount people, under whose trade marks he has directed a number of their stars, including Edna Goodrich, Vivian Mar- tin, House Peters, Dus- tin Farnum and George Beban, and his "Pas- quale" with the latter was one of the classics of the screen. Taylor's success lies largely in his command of every phase of his story before he starts work, and having been a noted actor, he knows how to get the best work out of his artists, and is a genius at bringing out char- acterization. Very much of a man. he is highly respected by his colleagues and holds the highest posi- tion in the Directors' Association which, with others, he was instrumental in form- ing. He traveled far and much and his own ex- periences in different parts of the world would make, of themselves, good photoplays. William D. Taylor directed for the Balboa company and with the American at Santa Barbara before joining the Morosco concern, and acted leads with the Vitagraph and with Thomas H. Ince before that, one of his most notable performances being his Captain Alvarez in the feature of that name with the Vitagraph. Mr. Taylor is at present producing "Bunker Bean," and recently completed a picturized version of Mark Twain's "Tom Sawyer." William D. Taylor. ARTHUR KANE ON TRIP FOR SELECT. General Manager Arthur S. Kane, of the Select Pictures' organization, left town December 17 for a trip to Cleveland, Detroit and Buffalo, which points he was unable to visit during his recent tour of branches in the Middle West, owing to pressure of business in the home office, which resulted in his returning earlier than he had expected. Cleveland was Mr. Kane's first objective, where he was received by Sam E. Morris, who is Select's Cleveland branch manager, and who also has supervision over the Cincinnati and Detroit exchanges. After a day's stay in Cleveland, Mr. Kane, accompanied bv Mr. Morris, moved on to Detroit, where they were in conference with W. D. Ward, manager of the Select exchange in that city. On Thursday Mr. Kane arrived in Buffalo, and spent the day with Charles R. Rogers, managers of the Select branch there, returning to New York the following day. "GUS" PHILLIPS IN PROMINENT METRO ROLES. Augustus Phillips, a Metro favorite, is seen in prominent roles in two new releases under the parrot trade mark, "Blue Jeans," starring Viola Dana, in which he plays Jack Bascom, and "Daybreak," starring Emily Stevens, in which he is seen as Dr. David Brett. 64 THE MOVING PICTURE WORLD January 5, 191S \ News of Los Angeles and Vicinity By G. P. HARLEMAN pfin5j Triangle Companies Under One Roof Keystone Players Move to Culver City — Davis Makes Flying Trip to New York. TWICE crossing the coritinent in less than a month, Vice-President and General Manager H. 0. Davis, of the Triangle, has departed for New York to complete plans for extended producing activities at the Culver City plant. While in the East Mr. Davis will also arrange for the purchase and production of a series of famous plays. The first of. these, upon which work will soon be started, is "The Servant in the House," by Charles Rann Ken- nedy. Mr. Davis ex- pects to return to Los Angeles within a few weeks. The removal of the Triangle - Keystone comedy players to the Culver ■ City studio from tHe old ^ajestic- Fine ' Ats plant on Sunset' .Boulevard, Hol- lywood, has given the Triangle pla'nt the ap- pearance of a circus lot during the past few days. The seven Keystone companies have been transported to their new home and installed on the new large stage which was recently built for their accommodation. Al- though the move in- volved scores of play- ers and workmen and tons of baggage and properties, it was ac- complished without confusion or lost time. The feature companies at the Triangle plant started three new plays during the past week and the production depart- ment is working a day and night shift to keep pace with the nine directors working. In addition to three new plays just started, three directors are in various stages on their pictures, while two five-reel dramas and a comedy drama have been made ready. Frank Borzage will have as his next Triangle offering, "Iron and Lavender," from the story by the same name by Hapsburg Liebe. Director Raymond Wells will next do "Work and Its Worth." Director Jack Conway has started work on "Little Red Decides," a screen adaptation of the story of the same name by William M. McCoy. Director Walter Edwards has started work on "Real Folks," the story by Mrs. Kate Corbaley which won first prize in a recent contest. The continuity was written by Jack Cunningham. Olive Thomas has completed her fifth Triangle vehicle, "Limousine Life," under the direction of Jack Dillon. Director Gilbert P. Hamilton, working with an all-star cast including William Desmond, Charles Gunn, Jack Rich- ardson, Walt Whitman, Eugene Burr, Mitzi Gould, Ann Kroman and Claire McDowell, is putting the finishing touches to his second Triangle offering, "Captain of His Soul," a screen adaptation of Eleanoret Kinkade's story, "Shackles." Director Thomas Heffron reports good progress on "The H. O. Davis. Hopper," from Meredith Nicholson's story of the same name. Director Cliff Smith and his cowboy star are making rapid progress on "Keith of the Border," from Randall Parrish's novel of the same name. The three stories completed and now in the editing de- parement are "Mr. Butterfly," directed by E. Mason Hopper; "Limousine Life," Olive Thomas' latest vehicle, and "The Three Godsons of Jeanette Gontreau." With the American Players Mary Miles Minter Picture Completed — Bill Russell Has Narrow Escape and Gets Black Eye. AT the American studios in Santa Barbara, Director Henry King has completed the fifth of the present Mary Miles Minter series, entitled "Madamoiselle Tip- toe." The story was written by Arthur Berthelet and adapt- ed for the screen by Elizabeth Mahoney. Bill Russell has been nursing a beautiful black eye, which was not secured in a fistic encounter. It happened while Director Edward Sloman was filming some automobile chase scenes for "Detective Dan Cupid." Russell was riding in a motor car driven by Harvey Clark, the well known character actor, who is included in the cast. The scene was a narrow road with a mountain cliff on the left, and ten feet from the other side a sheer drop of thirty feet to a river bed below, but not noticeable from the road. Jasper was ordered to turn the car around and drive back to the camera. He lost control in making the turn and drove to. the edge of an enbankment, one wheel going over. "Big Bill," who was wearing a heavy overcoat, made a flying leap to safety, but his coat became entangled on the door of the car and brought his well known right optic in violent collision with the windshield. However, he leaped to the road, and so did Harvey, but the machine did not fare so well, plunging over the bank. A. A. Bonnard, formerly manager of the automobile de- partment of the American, has gained admission to the Avia- tion Corps and is now training at the San Antonio, Texas, camp. The American company employes banqueted young Bon- nard in Santa Barbara during his short stop-over while he was en route to San Antonio from Camp Lewis, from which point he was transferred. A Visit to the Sanborn Laboratories. A representative of the Moving Picture World recently inspected the new plant of the Sanborn Laboratories at Drying Room of Sanborn Laboratories. Culver City, which is owned and operated by Pat Burke and Clyde Slater. This cut illustrates the largest drying room on the Pacific Coast, which measures 30 by 110 feet. The equipment in the January 5, 1918 THE MOVING PICTURE WORLD 65 room consists of six drums, 12 feet by 12, which have a capacity of 18,000 feet of film an hour. A record was recently made at this plant when the negative of a two-reel comedy was received at the plant at 3 o'clock in the afternoon and that night the laboratories shipped ten release prints to the Eastern exchanges. The Sanborn Laboratories are specializing in release print work. Among their customers are D. W. Griffith, W. H. Clifford Photoplay Company, Diando-Pathe Company, the Rolin-Pathe Company, Marie Dressier Company, the Essanay Company and the Bernstein studios. Opening of Kinema Theater Brilliant Audience at a Premier Presentation of "The Woman God Forgot" at Los Angeles' Latest Photoplay House. THE new Kinema Theater opened in a blaze of glory on Saturday night, December IS. "The Woman God Forgot," the Lasky-De Mille production featuring Geraldine Farrar, received its premier presentation in this city. Never in the history of the Los Angeles amusement world had such a brilliant audience been assembled in a mo- tion picture house. " It was a "first night" recalling the most notable occasions of similar import when the spoken drama ruled supreme, and a grand opera could scarcely have had a more magnificent launching. Not only all the bright and shining stars of the California photoplay colony were pres- ent, but a great many of the most prominent people of Los Angeles, including the mayor of the city. The program opened with a trumpet fanfare and the dis- play of the national banner by three jackies in uniform. Then Emil Kehrlein, Jr., the manager of the house, appeared on the stage and made a brief address, dedicating the house to the people of Los Angeles. W. J. Dodd, architect of the theater, followed with a humorous talk about the trials of a poor architect in building a motion picture house, which drew roars of laughter from the audience. Cecil B. De Mille, the Lasky producer, and the director of the photoplay of the evening, then appeared on the stage and spoke at length on the advance of the cinema art in the last ten years, il- lustrating his speech with an exhibition of films as they were made ten years ago and today. The first picture was a "Spirit of 76" drama, showing the American and English troops in battle. The battle scenes certainly were a parody. For instance, the American army started out from their station in three feet of snow to fight the British and the battle occurred immediately in a June day scene, as Mr. De Mille explained, and then the British retreated from this mild summer landscape into the three feet of snow again. Interior scenes in those days were absolutely un- known and whenever anybody wanted to see General Wash- ington, the poor general had to leave his comfortable room and go out in the snow. As a comparison Mr. De Mille pro- jected a few feet of his own battle scenes from "Joan the Woman," which were received by the audience with thunder- ous applause. During a short intermission serpentine rolls were dis- tributed among the audience and the auditorium soon was decorated with the serpentine streamers, like a masquerade ball. Then the lights went out and Cecil B. De Mille's latest masterpiece, "The Woman God Forgot," was projected on the screen. Admission was by invitation only. Seventh street for blocks was lined with smart equipages. But even the thea- ter, with its twenty-four hundred seats and its ample aisles, could not accommodate all who were drawn to the newest home of the photodrama. The lobby itself — a striking fea- ture of the interior — gorgeously carpeted and tapestried, was invaded throughout the evening and the doorman had a difficult time. This is the third of the theaters built by Emil Kehrlein, Sr., the others being in Oakland and Fresno. This is the largest, however; in fact, it stands as one of the most am- bitious theaters on the Coast dedicated exclusively to mo- tion pictures. U. S. Corporation in Los Angeles. Announcement has been made that, in furtherance of its plan of having capable representation in the largest cities throughout the country, the U. S. Exhibitors' Booking Cor- poration has opened an office at 514 West Eighth street, Los Angeles, to supply the Southern California and Arizona territory with its feature productions. Harvey E. Gausman has been selected as manager of the local Exchange. The first three releases of the new organi- zation are "The Zeppelin's Last Raid," "Those Who Pay" and "The Belgian." City Censorship Again Threatened. City Prosecutor Widney has announced he will send his motion-picture commissioner ordinance to the council. This came as a surprise to many around the City Hall, who be- lieved the plan to revive the film censorship in any form had been killed. It is the city prosecutor's idea that many taxpayers desire such a censorship as the ordinance pro- vides, and that it is a question for the Council to decide and not himself. "An organization is working on a license plan for all amusement houses that would be far more objectionable to film theaters, exchanges and producers than this ordinance," he said. "The plan these persons have is to compel all amusement houses to obtain a license to do business from the Police Commission. This would permit the revocation of their licenses for an infraction of the commission rules, while the censor commissioner would only pass on films and eliminate those that were objectionable. Then, too, the film owner, renter or producer has the privilege of an ap- peal from the commissioner to the Police Commission." The prosecutor says the provisions of the censor ordinance are not fully understood. "Three men conducting film ex- changes have called on me and, after reading the ordinance, pronounced themselves as in favor of it and stating it worked no hardship on them," says the city prosecutor. Willis & Inglis Build Studio. The Willis & Inglis studios in East Hollywood are ap- proaching completion, and one company making two-reel comedies with Fay Tincher, is now working there. These studios formerly belonged to the Kalem company and were recently taken over by Willis & Inglis, who have consider- ably improved and enlarged the property. The enlarged outdoor stage now measures 65 feet by 110, and is to be added to, and an indoor studio covering floor space of 50 feet by 100 feet is now completed. The electrical equipment is being installed. A mill is under construction. A laboratory building has been started and an up-to-date equipment is ready for installation. This laboratory will be under the management of Orrin Denny, one of the best laboratory men in the business. With its well built and equipped property, projection Fay Tincher Showing Richard Willis and Gus Inglis Where She Wants Her Dressing Room in the New Studio. and dressing rooms, scene docks and the improvements now being added, the Willis & Inglis studios will be among the best fitted up studios in Los Angeles. Fairbanks Will Run Red Cross Rodeo. Douglas Fairbanks will give a Red Cross Rodeo at Wash- ington Park January 12. Donald Crisp will be in charge of the field, with Fred and Ed Burns as directors of the arena. Fairbanks has telegraphed Sam Brownell, champion buck- ing bronco rider of the world, asking him to come on for the rodeo, the entire proceeds of which will go toward swelling the Red Cross fund. The prices will range from 50 cents to $2, with boxes selling at a premium. Mr. Fairbanks promises to give $500 for a box, providing ten others will pay the same amount. Almost all the prominent Los Angeles society women are members of the committee, headed by Mrs. J. M. Danziger, and it goes without saying that the eleven boxes at $500 each will be disposed of in a few days. ■OS THE MOVING PICTURE WORLD January 5, 1918 Sid Grauman'i House Nearing Completion. So rapidly have the artists, sculptors and decorators pushed their work on the new "Million Dollar Theater," at Third and Broadway, that Sid Grauman, the manager, was enabled to announce plans for the formal opening of the playhouse early in January, the final date depending on the completion of some of the delicately wrought interior decor- ations. All the detail of construction involved in the rearing of so elaborate a structure as the new theater is being finished on or before schedule time, thus making it possible to open several weeks before the time originally fixed. Already the scaffolding is being torn away from before the massive columns and huge decorative figures in the main auditorium and the debris is being cleared away from the floors for the placing of the cushioned chairs, installation of lighting fixtures and the various paraphernalia of the house. Lucas to Direct for Bluebird. Wilfred Lucas has joined the directing staff at the Blue- bird studios and will start shortly upon his first Bluebird photoplay, which will feature Monroe Salisbury and Ruth Clifford. During his stage career Mr. Lucas was featured in "Quo Vadis" for two years, produced and played the prin- cipal comedy part in "The Heir to the Hoorah," and played ■opposite Rose Stahl in "The Chorus Lady," which he also staged. He broke into pictures at the time D. W. Griffith was directing at the Biograph. After three years he joined the Universal and later went with Keystone. Rejoining the Universal, he staged one of their first serials, "The Trey o' Hearts." Joining the Triangle he directed and acted in a number of successful productions. Browning Collides With Uncle Sam. Director Tod Browning of the Metro studios in Holly- wood unintentionally ran against the U. S. Government, this week, while filming scenes aboard a yacht outside San Pedro harbor for a forthcoming Metro production. The arresting officer saw the camera on the rear deck of the boat, and it was not until Browning had been taken be- fore the commanding officer and assured him that the de- veloped and printed film would show no land or fortification, that he was released, upon his promise to send a print of the film to San Pedro within three days. This was done, and Ihe matter was satisfactorily adjusted, but only after Brown- ing had suffered a severe case of "stage fright." Los Angeles Film Brevities. J. A. Berst, president and general manager of Pathe Ex- change, Incorporated, is expected in the city shortly. * * * J. Stuart Blackton arrived in Los Angeles Tuesday, De- cember 11, to make the third of his Paramount productions at the Lasky studios. Mr. Blackton will start work almost at-once on another Sir Gilbert Parker story, "Wild Youth," for which he has selected Theodore Roberts as one of the principal players, while Louise Huff and Jack Mulhall will also have prominent roles. * * * Constance Talmadge, the Select star, arrived in Los An- geles, Friday, December 14, accompanied by her mother. She was met at the train by a number of friends from the local photoplay colony, * * * D. W. Griffith is back at his old Fine Arts studios, where lie is making scenes for the completion of his great war pic- ture. Neal Burns, well remembered from Christie and Universal comedies, is now with Mack Sennett. * * * George Blair, traveling representative for the Eastman Kodak Company, of Rochester, New York, who had been in the city for two weeks, departed for the East December 12. Perry Evenvold, who has been Reggie Morris' cameraman for over a year, has joined the marines. Bud Wales has taken his old place. * * * Several broken bones in his right foot as the result of a fight with Lon Chaney. who plays one of the principal roles in "The Girl Who Dared," which is being made for the screen by Allen J. Holubar, have taken James Russell out of the picture. Director Henry Otto, of Balboa, is putting the finishing touches to the five reel Kathleen Clifford comedy feature upon which he has been working the past several weeks. Mr. Otto will start immediately upon another five-reeler starring Miss Clifford. * * * Another star will be added to the service flag at the Tri- angle Culver City studios this week. J. R. McGlone, who has been working in the Employment Bureau, has enlisted in the cavalry. * * * Mae Murray dropped more than sixty feet from a broken swing in the Majestic theater, Los Angeles, one night this week. And right over the heads of the audience, too, at least the audience was supposed to be there, but it wasn't. The player was making the drop for one of the scenes of "The Eternal Question." * * * Wallace MacDonald, well known screen player, has just arrived in Los Angeles from New York, and has been added to the large playing force at the Culver City studios of the Triangle Film Corporation. Mr. MacDonald, whose home is in Halifax, has received word that the members of his family escaped serious injury. * * * Tom Morgan, adventurer and motion picture actor, whose specialty is "doubling" in hazardous stunts, has enlisted in the army. * * * William Bock, chief technical expert for the William Fox studios, has departed for New York. Mr. Bock came here several weeks ago to inspect the technical department of the western plant. * * * Robert T. Kane, vice-president of the Paralta Picture . Plays, Inc., and at present at Camp Lewis, American Lake, has been promoted to sergeant major. It was announced that promotion was given as a reward for the able performance of a difficult and peculiar task. * * » A. H. Woods, theatrical producer, has been in Los Angeles for the last two weeks looking over things. It has been reported that Mr. Woods contemplates producing on the screen several of his stage successes and is looking for a studio site in Los Angeles. Sam Rork, formerly with Mack Sennett, has been appointed Woods' local representative. * * * Walter Wright, after a vacation of several months, during which he occupied much of his time in laboratory work in connection with an important invention, has returned to the Mack Sennett studio. * * * At the completion of the present episode now under pro- duction by the Mena Film Company, Howard Gaye, the di- rector, will take up the work for the Roman period. Elab- orate sets are being built for this chapter of the story. Nero's palace and an amphitheater will be the most preten- tious and are now being built, to be ready for the com- mencement of this work, which will begin soon. * * * Wallace David Coburn, the "Cowboy Poet," has joined the Universal forces as an actor. He is the author of "Rhymes of a Round-up Camp" and other western stories in verse and prose, and is most intimately acquainted with the life he portrays. Coburn was born in Helena, Montana, and is of Scotch-Irish descent. He is a crack rifle and pis- tol shot and one of the best big game hunters in the north- west. Coburn now is playing a part in the Universal serial, "The Bull's Eye." SCOTT IS NOW A FIRST LIEUTENANT. First Lieutenant L. J. Scott, a recent graduate of the of- ficers' training camp at Fort Sheridan, Illinois, was a wel- come caller at the World office last week. Lieutenant Scott was formerly connected with the V-L-S-E in Kansas City and later with the home office of the Essanay in Chicago. It was while in this position he was sent to Canada to exploit the Max Linder pictures. What he saw in the Dominion convinced him it was only a question of time before the United States would be in the conflict. Ac- cordingly he determined to make application for entrance to an officers' training camp as soon as he could wind up business matters. His application was granted and he landed his commission. January 5, 1918 THE MOVING PICTURE WORLD 67 How Exchange Combinations Work Out By W. R. Greene Story of What Has Been Accomplished in Canada by One Concern with Offices in Six Dominion Cities THE recent article appearing in the "New York Times" by Samuel Goldfish and the extended telegram later sent by Stanley Mastbaum to the leading producers and distributors has caused a great deal of comment, both favorable and unfavorable, from many in the industry. Last week there was published in the trade papers a statement made by J. A. Berst, vice-president and general manager of Pathe, to the effect that amalgamation of pro- ducers or distributors would strangle the. exhibitors of the country and would tend to raise the price of films to the exhibitor. This would undoubtedly be true if every pro- ducer and every distributor should combine into one cor- poration, but amalgamation by three, four or even five dis- tributing organizations would save thousands of dollars a week for the companies involved. A concrete example of the benefits that would be derived by a combination of distributors can be seen right at the present time in Canada. This territory has long been con- sidered the graveyard of most all distributors, as the over- head in operating branches thoroughly to cover the Dominion runs into large figures, and has exceeded the gross income in some weeks of the year. The Regal Films, Ltd., was organized just a year ago for distributing World Pictures, Brady-made, throughout Canada. A rapid increase in regular service was augmented by the purchase of a number of state right pictures, as well as a weekly service of single reels. When the Goldwyn Pictures, Ltd., was formed for the distribution of the Goldwyn output in Canada the distribu- tion of these productions was turned over to the Regal Films, Ltd., as it was found that the cost of handling could be brought down to a minimum. The Regal organization was able, on account of being established for some time, to get a great deal of business on the new productions. The Triangle productions were handled for a long period in Canada by the late A. E. Fenton, who had to discontinue on account of his health, and the Triangle Distributing Cor- poration took over the offices. It was found that the over- head in keeping the offices open amounted to a high percentage of the gross income, and arrangements were made with the Regal Films, Ltd., to handle the distribu- tion of the Triangle program for all of Canada. The Regal took over all of the latter releases in Canada on November 1, and in the short space of one month was able to reduce the operating expenses on this particular program of fea- tures by 75 per cent. The Regal Films maintain offices in the six principal cities of the Dominion — Toronto, Montreal, St. John, Winni- peg, Calgary and Vancouver. In distributing three different brands of film, in addition to a large special department, the per capita cost of handling each program is reduced more than 50 per cent. It is a well-known fact in the dis- tribution of motion pictures that any exchange now operat- ing can take on additional business without increasing the overhead expenses to "any appreciable degree. The efficiency of a combination of distributors is shown by the operation of this particular Canadian company. Another good point in favor of amalgamation is the fact that the exchanges handling more than one program have an unlimited supply of features with which to supply the exhibitor. If circumstances should arise whereby a feature of the program the exhibitor is using cannot be supplied on certain dates he can be given a feature from one of the other programs. There are many exhibitors in Canada who are adverse to using two features a week from one producer, but they would willingly book two or even three programs a week of different producers from one particular exchange if it were possible to obtain a variety of subjects from such an exchange. Each manufacturer has a reputation for putting out a certain class of subjects. One makes a majority of pleasing stories that can be witnessed by any one; another makes strong society dramas; another tends to western dramas, and still another produces thrilling adventure fea- tures. The average exhibitor does not wish to run all society drama-s, neither does he wish more than the average number of western pictures. If an exchange can give the exhibitor three features a week, each being from a different producing company, the chances are that he will book his entire program from the one exchange. The city exhibitor has many advantages in doing this. It saves him a good deal of valuable time in having to go to only one exchange for his features and paper, and in returning the film after playing at his theater the other feature can be picked up from the same office. The out- of-town exhibitor gets but one invoice from one office each week, which means that he has only to make out one check for his entire film service, saving time in writing letters to several exchanges. The lobby display for the out-of-town exhibitor who books all of his film from the one office is also sent in one parcel, saving a good deal of excess charges for express and assuring him of getting his lobby adver- tising in plenty of time for a proper display. The expenses of long-distance phone calls and wires to the exchanges can be cut down more than 50 per cent, by the exhibitor who books everything from the one office. The exchange has many advantages in being able to book more than one brand of film to the exhibitors. Besides cutting down the overhead expenses per program it also eliminates a large office staff and a number of travelers in- the territory. It is possible for a traveler to sell two, three or even four programs just as well as he is able to sell only the one. A customer may not wish to run the class of features offered by a certain program, and if the traveler cannot offer anything else he has to leave the town without a sale. But if the traveler is handling more than the one program of features he has enough variety to satisfy the most particular exhibitor. In this way the expenses of the traveler is brought down to a minimum for each individual line of features. The distribution of a number of different brands of fea- tures tends to increase business on each one. If an exhibi- tor has a contract for one program he will at some time write into the office for a number of features from the other program, and the chances are that the exhibitor will become a contract customer on the second program. Busi- ness among the city exhibitors also takes a big boom when a number of programs are handled from one office. Managers of theaters going into the exchange for posters or features will happen to see posters or photographs on another program, and it is then an easy matter for the office to secure a contract for the second program of fea- tures during the week. A combination of producers as outlined by Stanley Mast- baum might not be satisfactory, but surely an amalgamation of exchanges throughout the country will give the exhibitor better service, and at the same time do away with a good deal of unnecessary waste, which, it is admitted, is reach- ing huge sums every week. The conditions in distributing motion pictures in Canada are much harder than in any territory of the United States, and if a combination of dis- tributors can be worked out in the Dominion to the benefit of all of the programs there is no doubt a combination of distributors in the United States would be a big boom to the business to all programs involved. What Small-Town Exhibitor Faces Virginia Manager Describes Conditions in His Section and Talks Frankly of His Troubles. Editor Moving Picture World : I ask permission for insertion in your paper of my view of adjusting the so-called 15-cent film war tax. In the com- plaint filed by the producers to restrain the Brooklyn exhibitors from canceling their bookings it is admitted that the average run of their features is fifty days, at a price ranging from $1 to $100 a reel a day. Although I occasionally receive a subject that looks more like it has filled 500-day runs instead of 50 from the way it is shot up, yet we are charged with this same 15 cents a reel a day. Some of the subjects were originally in five reels, and in order to fulfill their promise of five reels they are stretched out to go on five reels with an average of about 600 feet to the reel, yet we are charged for the five reels. These producers or exchanges admit they get as much a day as $100 a reel and even more. This being the case, is it fair that the small-town, or neighborhood house, which only has from 7:30 to 10 to do business, and whose receipts run anywhere from $3 to $24, should pay the same film war tax as the big fellow who has an all day grind at it and uses the show probably as many as seven times a day, and whose receipts are as much in one day as many of the little 68 THE MOVING PICTURE WORLD January 5, 1918 fellows will do in a month? Yet each exhibitor is held to pay the same tax. Why not adjust all this difference and give the small fellow (the 80 per cent, man) by charging him say 1 per cent war tax on his film rental on everything up to, say, $75, and over that amount charge one-half of 1 per cent. This would make it lighter on the small fellow and help save the industry, and a trifle higher for the big all-day house which can better afford to pay $2 war tax a day than 80 per cent, of the small fellows can 25 cents a day. In the end the manufacturers or exchanges would realize more out of the war tax than they do today. On the face of the present charge of straight 15 cents a reel to all it isn't right any more than it is to charge the small fellow the same film rental that is charge the big fellow. I don't think there is a big-town fellow in America who would object to this slight increase on his film tax in order to save the drowning small exhibitor. This is one way to bring about harmony with the exhibitors and producers. What's the need of all this stalling on the part of the various Exhibitors' Leagues when we are all at the mercy of the manufacturers. We have got to submit just like we have done as regards to deposits, return express charges, added cost of paper, etc. Why not fight for a more equitable charge on the film tax? As to the patrons' tax: Uncle Sam needs the money to help load guns tc* win this war, and the sooner it's over the better for us all. Let's cut the stalling. Some nights I absorb the tax. That is, where I used to get 20 cents for an extra big picture I charge the same and take care of the tax myself. Sometimes I charge the tax to the higher seats and assume the tax on the cheaper seats so as to help the poor devil who has a struggle to live today in face of conditions, let alone go to pictures. It isn't the war tax that has caused the decline in patronage. It's the dreadful high cost of everything. Take shoes, foodstuffs and fuel. The average wage scale in my town isn't $10 a week. What's the answer? The people haven't the money to attend. My business has been paralyzed since the cold weather and snow set in ten days ago. I would have made money to have closed. But how could I when I had contracted for certain pictures ard they have my money and tell me you must play the picture on such and such a date or wait probably several months before I could get it again. Then I would have it come in all shot or run to pieces. At that, I see no relief except to work away from these pictures and close my house save to road shows, stock companies and upon Saturday nights. As to the patrons' tax, why not ask the Government to allow us to exact the present 10 per cent., and we settle with them say at 8 per cent of gross. This will not only save all this figuring on each priced tickets, etc., but will allow us a little pay for the trouble, take care of our film war tax, increased cost of fuel, help, advertising, etc., and declining business. I have inquired in all towns about me here for a hundred miles around and all report desperate conditions. I am an exhibitor in a town of 6,500, a nice, large, modern house, kept clean, comfortable, and play only the biggest and best pictures, as well as Artcraft, Goldwyn, Select and others, yet the town will not patronize the house sufficiently during the week to keep it open. It takes my Saturday's profits to pay my five other night's losses. I am alone in my town, yet held to pay from $30 to $50 a day for service.^ I simply take the money from the people at higher admissions and send it to the exchanges. They always play safe. J. HENKEL HENRY, Vice President, Secretary and Manager of Empire Theater, Wincester, Pa. Harden Has Plan to Cure Ills Atlanta Exchangeman Advocates Grading By Manufactur- ers Themselves of Productions in Ten Classes. CHARLES W. HARDEN is president of the E. & H. Film Distributing Company, of Atlanta, one of the largest independent exchanges in the South. Mr. Harden has been in the film distributing business for eight years, and in that time has been associated with several of the big companies. Consequently for that period he has been in close touch with exhibitors as well as with the pub- lic. Mr. Harden sends to the Moving Picture World the fol- lowing suggestions: I have read, with much interest, all articles in the various trade journals, most of them being in the form of a question asking for a solution of the difficulty that the entire moving picture industry Is in today on account of overproduction, cost of distributing and lack of organization. A number of big men in the industry have come out in lengthy statements telling us what is the matter with the business. That we already know and have known for sometime : what we have been waiting for is a detailed solution of the problem and so far none has been offered except by some fellow who has an axe to grind and wants the whole industry to follow a pet scheme of his own which would probably work out all right for his own personal benefit but would be impracticable for all. There is no chance for the manufacturers to get together as a whole in one great corporation ; that has been suggested, tried and failed. Even if this were possible, where would it benefit the exhibitor, who must be recognized as at least 50 per cent, of the industry, and his success must be assurei ahead of everything else. There is no way by which he could be directly affiliated with the manufacturers end of the business, as that has been tried out for the past year by various exhibitors' circuits, and has not proved popular to a great degree. There must be some other plan, and it must be an equitable one along lines that will assure both manufacturer and exhibitor a square deal in every way. Following, I am going to outline a plan to which I have given much thought. It may be practicable, and, if so, the great minds of the industry will not hesitate to seize upon it, and, if not all practical, there is at least a part of it so, and the plan may lead to suggestions from others that will eventually work out in a satis- factory way. If any part of it is eventually carried out successfully I will feel that my efforts have been rewarded. Practical or not, I think all sides will have to admit that it is at least equitable. The following is a brief outline of my plan : First, there must be an agreement by all the big manufacturers to submit all pictures produced by them to a board of governors appointed by the manufacturers themselves, who will " -in a body" review each picture to be released ; each picture will be classed by this board according to star, drawing power of story and length, also as to quality, etc., in order that It be given a rating in accordance with its worth to exhibitors. There would necessarily have to be a number of classes in order to designate the difference in the many grades of pictures : for instance, a picture that is worth $100 a day might be classed as No. 1, and one that an exhibitor could only pay $7 a day for could be classed as a No. 10, as prices now range from $5 a day up to a hundred or more, hence the necessity for a number of classes which will be necessary to carry out the plan to follow. This board need not be made up entirely of representatives of manu- facturers, but may be augmented by representatives of the exhibitors' organizations ; but to eliminate any chance of partialty I think It advisable to confine it strictly to the manufacturers themselves. Then if they rate their pictures too high it will only react on all alike. The next step will be to list every theater of any consequence in the country, getting exact statistics of each house, the average business they do with different stars and pictures, the amount of expense In running their theater (not counting film rental) the amount of their investment, etc. This information can be easily and quickly complied by the exchange managers in each film center, or by a board of appraisers appointed in each film center, who will investigate thoroughly each theater and give them a rating ; in other words, each house would know just what his price was for a No. 1 fitm, a No. 6 film, or a No. 10 film, as each theater would have a separate rating for each film of each class In case a theater owner finds he is overrated, on complaint to the local board he could demand an investigation, and if his claim Is just his rating could be lowered by that board. In case an exhibitor is rated too low his rating can be raised by this same board after a thorough investigation. In order to make this pain a success, each and every exhibitor must be allowed to make a reasonable profit in accordance with his invest- ment, there to be no reduction on film account of age. (A film is worth as much in a town where it has not played one year from release date as it is when it comes out of the can. providing, however, the physical condition is as good.) Under this plan, distributors and manufacturers receiving the same amount of rental regardless of the age of their production could afford to keep a good copy at all times. This plan puts a fixed price on all film for all time to come and elim- inates cutting prices as well as overselling, which has put the industry in the mire in which it fluds itself today. The exhibitor who has a town sewed up, and has on that account bought film at his own price, would und himself paying the same price as the man in the town where keen competition has existed and the exchanges have been selling their film at twice what It was worth. Much has been said about the great cost of distribution, and the writer is under the impression that as much money has been wasted in that branch of the industry as has been in the manufacturing end. I do not think it practical to amalgamate all distributing companies under one head, as there would undoubtedly be complaint of partiality or neglect from some producers. Let each producer maintain a sales office in each film center as now exists, but have them all In close proximity to one another (all in one building of possible). Let each office attend to the sales of its own films with no more connection with the other offices than now exists. However, each company must turn its shipping instructions over to one man who will supervise one great shipping department for all, cost to be pro-rated by the various com- panies ac ord'ng to the .■'mount of storage space they occupy and the amount of shipments. This will reduce the overhead at least 35 per cent, and eliminate 05 per cent, of errors in shipping, which now are many, and a number of times very costly to an exchange. A great number of road salesmen could be eliminated under this plan, as well as about one-third the force in each office. All the argument a salesman would have would be the brand of his pictures. This plan may be held unlawful, but I think if all concerned agreed to it there could be no pre^ecution. Now we have fixed things for the exhibitor and assured him of a profit, we have arranged to cut the cost of distribution at least 35 per cent. The manufacturer may justly ask what assurance will he have that he can make money on his productions. The amount saved under this plan in distribution will almost pay the profit the exhibitor is entitled to. If be finds his productions are costing too much to be sold at the fixed rating of the theaters, the only thing left for him to do is to cut the salaries of the stars, directors and people who have been getting too much money. There will be no need to fear some com- petitor taking the star and paying them more money, as they can get no more for the same star in the same class production than the other fellow can. Think it over. Chas. W. Harden January 5, 1918 THE MOVING PICTURE WORLD 69 How It Is Done at the Strand A Discussion of Methods Which Have Actually Been Worked Out Successfully. By Harold Edel, Managing Director. THE "no tip" system in a theater is 'one of the best little tricks toward retaining the good will of the patron that the manager can institute. In many instances this system makes a lifelong friend of the patron, as is indicated in a letter just received. "After tipping right and left for a number of years, I was agreeably surprised to find that at least there is one theater in the country where service and courtesy are included in the amount paid for the ticket," said this man. Twice during the same evening this gentleman tempted two different ushers, as a matter^ of habit, with tips and twice he was accorded the same "no, thank you." On asking an usher to get him a front seat he received his first surprise when he attempted to tip for a splendid single seat. Later on asking an usher to get him a program he felt the tip was well warranted, but received the same courteous salute and "no, thank you." In his letter, this gentleman, a successful lawyer, took particular pains to voice the extent of his enthusiasm and stated that from that time on he could be considered as a walking advertisement for the Strand. Satisfaction is the greatest asset in every business. The business man of today not only sells his commodity, but after he is paid, he sees to it that whatever he sells gives satisfaction. Modern business science teaches us that the art of making per- manent and profitable patrons is the only method of attain- ing real success. The Strand is not content with the mere sale of the admission ticket, but endeavors, in every way, to give such exceptional service with its quality that the patron will not only become a permanent one, but will become so enthusiastic that he will become a walking advertisement. Only exceptional satisfaction can bring about such a condition, and if some exhibitors would devote as much time to pleasing the patron after he is in the house as to getting him into the theater they would soon find an increase in their box office returns. Creating Interest in an Advance Leader. In announcing "next week's attraction" by means of a film leader showing the star in a scene of a forthcoming attrac- tion we have found a little way of creating more interest in the leader itself than by merely making the announce- ment and then showing a piece of film from the photoplay. First, an announcement is thrown on the screen to this effect: "Next week the Strand will present" and then is shown the strip of film with the star in one of the scenes of next week's attraction. Immediately the audience will be heard guessing who the star is and what the name of the production will be. "Oh, it's Billie Burke I" exclaim some." "I'll bet that's her new picture, 'The Land of Promise.'" "No, it's a scene from so and so." While the scene is being run off there is discussion as to the star and the production and then the balance of the announcement: " Billie Burke in 'The Land of Promise,'" is thrown upon the screen and all questions are settled. Thus more interest is created in the announcement of the next attraction than by merely making the complete announcement, after which the audi- ence has little to think about until after the scene is run off and the next film is thrown upon the screen. Effects on the Stage for Storm Scenes. In "The Land of Promise" the effects on the stage added considerably to the thrills of the scene depicting a heavy storm. In addition to the usual thunder rolls, we used semi- lightning effects, that is, instead of throwing up a full flash of light, which would take the mind off the picture, we merely gave a suggestion of lightning in the panels on each side of the screen. The scene in question showed an interior of a farm house. Through a window the storm could be seen raging outside. On each darkened panel alongside the screen we used special projectors, presenting falling rain, and with an occasional weak flash of light the psychological effect of a storm outside the walls of the house was obtained. In other words, it made the audience feel as if it were in the room itself with the storm raging all around it outside. War Pictures Great Drawing Card. Donald C. Thompson's picture, "Blood-Stained Russia," showing German intrigue as a cause for the treason and revolt, proved a big attraction. In preparing the music for this film many, hours were spent by Conductor Edouards and myself, and the result was most gratifying. Real war pictures are "'eaten up" by the audiences at the Strand and with proper presentation they not <5nly fill a want in the public's great desire to see how things actually are on the other side, but the showing of these films in itself is an act of patriotism, for they are the greatest propellers of public opinion the exhibitor can offer. .. iSgglgJSElBlBlBIg^^ Indian Notes ks^!SMSSSSS3!S!&BSSSMSSSISISMSSSMSMSMSM^S&3!S!SS&S^i^ By S. B. Banerjea. I HAVE just returned from a tour through Central and Western India, and am delighted to say that I have found cinema theaters in many places where I never thought one could be profitably operated. At Jubleulpun, for instance, I found two cinema theaters, one owned by a European and the other by an Indian. Both were doing fine business in spite of the fact that they were located some distance from the town proper. American films, as may be expected, predominated. A theater in the heart of the town itself could profitably be started. At Benares I found a bioscope theater in a busy center. Its proprietor, an Indian gentleman, was doing a good business. I believe one or more theaters can be established there profitably. In Bombay a new theater is in course of construction. It has been named His Majesty's. It is owned by an Indian. The existing theaters are doing excellently. At the New Alexandra "Crime and Its Penalty" and several other American films have been shown during the past two weeks. The New Imperial will be showing "Patria" very shortly. Mr. Yadan or Mr. Ducasse would do well to show it in Calcutta without delay. So far the Calcuttaites have not had the opportunity of seeing the acting of Mrs. Ver- non Castle. I dare say when "Patria" will be screened she will at once become a Calcutta favorite. At the Empire I saw British films only. The authorities of this theater are proceeding on wrong lines. "Jane Shore" may be an excellent picture in its way, but it is in no way superior to the several American films which I saw in the Excelsior or the New Alexandria. The Mirror of Life, the Eldorado, the Royal Cinema and the Globe, I found, were doing excellently. At two of these theaters a system of prizes has been introduced. Every ticket holder has the chance of winning a good watch or something equally useful. The drawings are held openly so that no comolaint of unfair- ness can be made by anybody. * * ♦ The final installment of "Liberty" will be screened at the New Cornwallis next week. It has been seen by thousands. "The Pearl of the Army" has drawn big crowds at the Euphimstone Picture Palace. I believe if these two films are shown again hundreds will go to see them. I have seen Mandan's program for the next season, and am glad to say he is bringing out many of the latest American successes. These are bound to draw crowded houses. » * * I am glad to find that Mr. Ducasse of the Bijou Grand has shown several American successes; for instance, "The White Raven," "Pennington's Choice," Rex Beach travel pictures, etc. * * * There will be no Bioscope performance on the Calcutta Mandan this year. I should say that no amusement of any kind will be permitted. Circuses will have to find room in the heart of the city itself. I am glad to find that the Calcutta "Englishman" has in its Ruia issue published portraits of cinema stars like Chaplin, Holmes, etc. The illustrations are well executed, and re.lect much credit on the convictions of the journal. This is the first time ir. the history of the Indian cinema world that portraits of our leading favorites have been published by a semi-official daily paper, and naturally this new departure has attracted attention. Many of my friends have cut out the portrait page, with a view to prestrvation. * * * In my last I gave the text of the Indian cinema bill, which will become the law of the land shortly. It will be news to the readers of this paper that "The Capital" of Calcutta, the leading commercial weekly, has started a crusade 70 THE MOVING PICTURE WORLD January 5, 1918 against serials like "The Shielding Shadow," "Master Key," etc. It holds serials like thest responsible for many evils. The authorities have been urged to prohibit the exhibition of all sensational serials, as these are calculated to pro- duce moral and material injury. Certain other papers would like to see the censors prohibit films which "fly over" the heads of the average Indian cinema-goer. I have a shrewd suspicion that the wrath of "The Capital" and other papers of its ilk will be appeased if British film manu- facturers can arrange to produce big serials. In other words, racial question is at the bottom of the frequent explosions to which we are treated. Under the new act regular boards of film censors will be created in every province. But I do not think they will be so senseless as to prohibit serials. I have said more than once that only Mandan, of Calcutta, among the local cinema pro- prietors, specializes in them. Indians like serials, hence the wonderful success of this Parsee gentleman. In Bombay three or four theaters exhibit serials. These are always crowded. Serials might not appeal to a section of the European public, but that is no reason why it will not allow Indians to enjoy them. It is the fashion with a class of people to blame the cinema as being responsible for increase in crime. A little inquiry will show that this charge is without foundation. I for one have no doubt that should the outcry of "The Capital" impress the authorities the producers of the serial films will be able to protect their interests in this country. * * ♦ I have seen Mr. Ducasse's new program, and have no hesitation in saying that he will have crowded houses dur- ing the next season. During the Puja holidays he will give daily changes of program. * * * The proprietors of the Picture House also have made out an excellent nrogram. They announce two big serials, viz., "Girl from Frisco" and "J. Dale." They are bound to make money. * * * Murrae is a far-off hill station, much frequented by Euro- peans. An enterprising person has opened a cinema hall here and is doing good busines. "Macbeth" drew packed houses for several days. * * * The Lahore cinema CPuri's) is going strong: as also Mandan's Darjeeling Bioscope. The Bioscope Theater of Calcutta has once again become a variety theater. During the last three weeks it has shown several excellent Ameri- can films. The Theater Royal of Calcutta gives two changes weekly. American films predominate. The Secunderabad Theater is making a lot of money. BSfgJeMBrajcMSJi^^ By J. B. Sutcliffe. UNCLE SAM GETS READY," the timely topic of which we had a premiere at the New Gallery Kinema a few weeks ago, has made an extensive booking list in London not only at moving picture theaters but at a large number of the central and suburban music- lu- Before seeing "Uncle Sam Gets Ready" not a few exhibitors opined to the view that the martial preparation picture had had its day and perhaps on the side of the European forces it has. But the life, vigor and coherency of "Uncle Sam," coupled with the exposition of many origi- nal resources in the training of the raw material is in itself sufficient recommendation. * * * In connection with "Uncle Sam Gets Readv" I saw a rather neat but simple scheme of twisting the initials of the tl .! , . e ,.y ords on a six-sheet poster; one that offers up pos- sibilities in the exploitation of titles. It was outside a South London hall and commenced in bold black with: U. S. G. R. followed by a query mark and on the left hand side an ornamental monogram of U. S. and on the opposite side the familiar device G. R. (Georgius Rex) representing the United States and the United Kingdom respectively. Be- tween the two crests was silhouetted a line of battleships linking the two together, the sunset on the wave revealing the title of the film, "Uncle Sam Gets Ready." Immediately underneath comes the reverse letters: R. G. S. U. with two corresponding devices at the bottom corners, the one on the left bearing "Really Great" and the one on the right "Simply Unique." * * * "Civilization" made its Metropolitan appearance last week at the Polytechnic Institute, Oxford Circus, and is expected to run there many weeks. It has already been exhibited extensively in Scotland and the provinces, where it was disposed of on the county rights basis. * * * The repertory play, "Hindle Wakes," by the late Stanley Houghton, is being "done for the pictures" on native soil by Maurice Elvey. The play revolves upon the pleasantries and scandals of a Lancashire industrial town at the time of the annual holiday or in the venacular "wakes," and Mr. Elvey has just returned with a company of players from Blackpool, where, among other spectacles of Lancashire factory workers enjoying vacation, he has secured exposures of the famous Tower ballroom. In splendor, size and mag- nificence the Blackpool ballroom is considered second only to the Casino ballroom at Monte Carlo, having floor ac- commodation for 4,000 dancers at one time. * * * The film of the week in London is the Vitagraph Com- pany's version of Robert Chambers, "The Girl Philippa." It appeared a fortnight ago at the Marble Arch Pavilion and since at other West End theaters. It is booked to appear within the next few weeks at every suburb in London. * * * Andre Chariot, the revue producer, will shortly turn his attention to the moving picture. He has practically com- pleted the script of a feature drama in which Phyllis Monk- man will star. Arthur Weigall, author of the revue, "Bab- bly," is to collaborate in its production. (I^TOMi^SJaBSJeMaE^ Export Items !]jfi>]jafi2jajafsji2j^^ By. E. T. McGovern. ANEW export firm, the Mutual Export & Import Corp., has entered the Latin-American field, intending to operate in Chile, Peru, Bolivia, Central America, Mex- ico, Spain and Italy. * * * Sydney Garrett and Ben Blumenthal have returned from Chicago, where they closed a contract for the export rights on the Selig picture. * * * The war tax is rather hard on exporters to Argentina, Brazil and Chile. These three countries known as the A. B. C. powers have placed a tax on film imported. This means that the buyer has to stand two taxes on each picture he purchases for exploitation in these countries. * * * Francisco Elias has recently installed a linotype machine for the making of title cards. Elias makes many of the Spanish titles that are made in New York and his transla- tions are in the best Spanish and French idiom. * * * "The Fall of the Romanoffs" is now ready for sale in the Spanish-speaking countries and a number of worth while offers have been received from this territory. Arthur Hoerl and Alexander Beyfuss are handling the sales end of this territory. * * * Felix Malitz and Joseph Lamy are busy with plans for 1918 to enlarge the foreign trade of the Piedmont Pictures. * * * Edna Williams is handling the foreign rights on the pro- ductions of the U. S. Exhibitors Booking Corp. Miss Wil- liams has connected with the Robertson Cole Co., a large export house, and will have exclusive rights on all these films. * * * The Inter-Ocean Film Corp. has recently sold the exclu- sive rights on Speer Carbons to Max Glucksmann for Argen- tina, Uruguay, Paraguay and Chile. * * * Myron Selznick has started to line up the foreign markets on the first Selznick Pictures. January 5, 1918 THE MOVING PICTURE WORLD 71 gigjgjgjgia'Biaa'BlBlfflaBlfflBIBIBiBlBMBiaiigBIBlBJBfi By Marion Howard WITH a desire to do something for the cause, the Film Club voted to suspend meetings the balance of the club year and send money to France to one of its members, Mrs. Eugenie Young, over there working with the Duryea volunteers in aiding refugees. A pitiful letter was read from he'r, resulting in the action taken. Another member, Lieutenant J. F. Winston, a Plattsburg graduate, is also in service. The club board will meet and may call a special meeting at any time if occasion arises. » * * After quite an absence from the screen, rehearsing, we again see Bushman and Bayne in a strong play, "The Voice of Conscience" — clean, good atmosphere, well directed, and with excellent Southern scenes. Bushman does quite a stunt playing double; and aren't the darkies great I The blind mother was most pathetic and not overdone a bit. Miss Bayne writes me that she expects the fans to like their new picture, "Red, White and Blue Blood." Sounds good! * * * The Hub is pleased over the selection of Professor Baker as head of the scenario committee of the Government's motion picture department to institute propaganda work rightly directed along lines applying to the war. He is singularly gifted to undertake this, as proven by his years of service at Harvard University. * * * Another good piece of news is the placing of Benjamin Chapin's wonderfully compelling Lincoln pictures under the Paramount banner, where millions can see them with profit and intense satisfaction. I have seen them here and in New York, and having lived "befo' the war," and having seen Lincoln, know that they have a big mission, especially for the youth of the land. Florence Short plays Nancy Hanks as few could do, and, oh, the lesson of it all ! * * * Do I owe an apology? Looks so, but it was a slip of the types that put Donald Brian instead of Donald Hall in the Vitagraph picture, "Satin and Calico." * * * There are several screen players here in the speaking play. Among them: Barrymore Brothers in "Peter Ibbet- son," also Constance Collier; Julia Sanderson in "Rambler Rose"; Margaret Wycherly in "The Thirteenth Chair"; Henry Kolker and Frank Gillmore in "The Arabian Nights"; Nance O'Neil and W. J. Ferguson in "The Wanderer"; Jane Grey in "De-Luxe Annie"; Willie Collier in "Nothing But the Truth." Leon Gordon is still at the Copley and com- pleting his star part in "The Man Who Stayed at Home" after its run of twenty-seven weeks. * * * "Our Navy," in colors, is the star attraction at Tremont Temple over the holidays, made possible by the Prizma Corporation. * * * For light pictures commend me to "The Small-Town Guy," with the inimitable Taylor Homes; "Antics of Ann," cleverly done by Ann Pennington and Harry Ham, full of healthy laughs; "Bab's Matinee Idol." like all the Sub-Debs seen thus far — good; "Nearly Married," another offering of Goldwyn for Madge Kennedy; the Drews in all their pictures. * * * I saw "The Garden of Allah" the other day for the first time — some picture, but why this perpetration, thrust more than once: "No one but God and I knows what is in my heart"? Nice English, that! My friend, who is quite a fan, asked me if I ever saw Tom Santschi smile — did you? * * * Elsie Ferguson seems to have scored again, and isn't she dainty without being conscious of it? "The Rise of Jennie Cushing" has been so well reviewed in these columns that I can only add a bit. The kiddies played an important part, and a picture with children and animals catches me every time. Speaking of this combination, what a wholesome picture the Essanays give us in "Pants," featuring that child wonder, Mary McAlister. The house, a large one, too, laughed over the antics of this star and applauded the picture at the close. This is safe to book in any community, so human and so natural is it. All we missed was Mary's dog, with its queer face and black eye. A fashionable audience greeted Julian Eltinge's latest, "The Clever Mrs. Carfax," put on at the Exeter. We expect much from this unusual impersonator of feminine roles in his shifts to male ones. Here we get more action than in the others, and the opening scene gave delight to the men in front, recalling their college reunions when some one from outside was pressed into service to entertain. Eltinge does his stage dance well and then continues it in the center of the table. After that scene he is less spectacular. * * * Well, "The Price Mark" had some good features, apart from the unhealthy sex element, too plainly presented for the young to see. There was no attempt at concealment of it, either, and the entire surrender of the heroine after being ruined and her evident content at it all was revolting in a Paramount picture especially. True, there came into her life a clean man and all ends well, yet I wonder if it is quite necessary to encourage justifiable censorship in this way. Thomas H. Ince has given a great picture so far as directing goes, and Dorothy Dalton does finished work way through, well supported. My neighbor thought Conklin with his peculiar face made a dandy villain. There were some fine scenes, picturing Cairo, with its splendors, and great indoor ones in studio and apartment, also good human touches in connection with a crippled boy and the hospital. It jarred some to see Adele Farrington playing the part of a hypocritical confederate of the man in the case. Here is one of the titles — "When an hour has past." Wonder if Ince saw that I * * * On the same program we had Edna Goodrich's new Mutual, "A Daughter of Maryland," splendid Southern picture, with new touches and situation refreshing to note. William T. Carleton's make-up was so good that few in front recognized him. Stately Helen Strickland was billed as an "old maid sister of the Major," but she could not look the part and was ever a picture of the grand Southern dame, never suggesting "the girl he left behind him." There was good darky stuff in the street scenes, with the kids in front. Carl Brickett as the Yankee landscape gardener stood out clearly in all he did, but best of all were the interior settings, done in some effete old Southern mansion. Good work for John R. O'Brien! * * * A picture of distinctive class is "The Judgment House," for the introduction, in support of Conway Tearle, of dainty Violet Heming, so long in support of George Arliss. With the name of J. Stuart Blacktcn as director we were expect- ing much, and being the first of his Paramount pictures, too, there was added interest. I liked best the closing scenes, though not keen on too much war stuff at this time. Here we had corking battle scenes — best seen in a long time. Those are fine performances, too, of Wilfred Lucas and Crazy Thunder, the Indian. * * * "Jack and Jill" went well, as do all the Jack Pickford pictures. Plenty of punch here, a prize ring figuring. A good bit of spunky loyalty was shown by the heroine, Louise Huff, who had some funny lines, according to the slangy titles. * * * One of the funniest situations in "The Game of Wits" is the scene where the desired bride of an old duffer makes him do unearthly things beyond his strength, like donning an abbreviated bathing suit and joining members of a house party at the swimming pool. When you recall the angularity of Spottiswood Aitken and his lack of physical beauty you may know he was some sight. The entire picture was full of new stunts, humor and good situations. Gail Kane has done nothing better, and all credit is due Henry King for his sane work in directing the details. * * * "Maid of Belgium" proved entertaining enough, especially in the opening scenes, depicting Belgium -after the invasion and the turning back of tourists, taking a young demented girl whom they found by the roadside, and transplanting her to their pretentious home in America. There were harrowing scenes incident to the birth of a child, whom the wife passed off on her husband as her own. Space does not permit telling much of this episode, but it had its lesson. Then the ending was rather suddenly shown, following the return of the girl's reason and the visit to that part of the world of her husband, a former Belgian soldier whom we saw in a flashback. Alice Brady was the unfortunate heroine, but somehow she did not seem to fit. We like her better in plays of different theme. George MacQuarrie was splendid as the husband and held himself well in check when his provocation was so great on learning of the imposition of his wife. Story dramatic and worth while. 72 THE MOVING PICTURE WORLD January 5, 1918 . gg> g» ggjZjg: g« *s» "g •>«S> »^' «^ »^ »^ •S»"'.Sa «^ •^'TSi '^. »s '$i >s .« Motion Picture Educator Conducted by REV. W. H. JACKSON and MARGARET I. MACDONALD gg ^» g. g> g< g° H g ? g« g- g- ^ -"g- g>ggg • j • • 1 ' ^ L^llrl-^. ^ '^ «1 •.s> _^_^j2ij^ZEr A Five-Part McClure Production Released by General Enterprises, Inc., Presents Strong Moral Teaching. Reviewed by Rev. W. H. Jackson, THE STRONG moral teaching of the five-part produc- tion, "Mother," cannot be too highly commended. Cast in the humbler walks of life, it will reach more people than if cast in a society vein and do more good. It will help many mothers in their loves and in their methods, which are not always wise, as this story will show. It will also help many sons, for here they will see a true picture of that motherhood which sets truth and justice on the same pedestal as love. To secure a good title for a picture is often a great task, and too often the relationship of the pictures and the titles are far apart; sometimes so far as to bear no relationship whatever. Here, however, is a picture and a title which no circumstance or condition can disassociate or separate. It speaks for itself, and requires no further explanation. The story of this mother in some degree takes its shape from the surroundings cf the home over which she presides. In a rugged and wild country, with solid rock and rough woodland, as well as fertile soil, nature seems to reflect itself in the characters of this mother and son — she with a character as solid as the hills around her, and mind and heart as kindly and beautiful as the fertile soil, yielding its fruitfulness with joy; while the son's substance seems to partake of the rugged, wild nature of the rough and rocky woodland, lacking all the profit and joy of fruitful- ness. The strong, stern kindness of the mother never wavers'; true to her boy she is just as true to herself. No blind love is hers. She is first to see her boy's faults. She seeks neither to cover nor parade them, but with firm pur- pose and loyal devotion she sets herself the task of proving that the justice of a mother love will ultimately prevail. The supreme test comes when the son brings home a couple of game birds, which are the result of a night of poaching with a well-known poacher upon a rich neighbor's land. When traced to his home by officers of the law the birds are hidden, and the son lies about his knowledge of them. At the moment when the officers are about to leave the house the integrity of the mother rises supreme. She stays the men and produces the birds. Following the denouncement of the mother by the son the former encourages the love of a girl in the neighborhood in wise and motherly fashion, taking her into her own home as a help and training her according to her own ideas of caring for her boy. In spite of the fact that she knows that, owing to an affliction of the heart, her own days are numbered she possesses herself in patience and "looketh well to the ways of her household." One of the strong features of the story is the confidence of the mother in the ultimate triumph of her love. At length the fatal attack comes and she passes away with her son's arms around her, her face lighted with the assurance of her victory. This picture, which should be widely exhibited through- out the country, is a McClure production, and is being released by the General Enterprises, Inc., of 1476 Broad- way, New York. "Tom Sawyer" Famous Mark Twain Story Makes Fine Screen Material and Arouses Desire for Continuance of Filmization of Standard Works. AFTER a period of inactivity in film adaptation of standard works of literature, the appearance of the five-part Paramount production of Mark Twain's famous story, "Tom Sawyer,' is most welcome. Well- known works of standard authors afford the best material for photoplays, and the wonder is that they are not more extensively used. Jack Pickford makes an inimitable Tom Sawyer, betray- ing a natural force which causes "Tom" to live again. The picture is an ideal one for boys and girls, and should find its way to the boy's column. Pictures of this class are not only safe, but they have a strong moral influence for good. Their frequent use will not only add to the value of the moving picture, but the exhibitor will, by the use of them, be able to increase the number of his patrons. Such pictures make friends for the industry, and have also a tendency to increase the reading of good literature. Interesting Educationals One Sport Subject, Three Industrial and Two Topical Subjects. Reviewed by Margaret I. MacDonald. "Eighth Annual Round-Up— Pendleton, Ore." (Pathe). THREE exciting reels of western cowboy sports being released by the Pathe Exchange, Inc., vividly illus- trative of the eighth annual round-up at Pendleton, Ore. For those who !ove the snorts of the cattle range this special release will prove intensely interesting. The open- ing reel introduces eight tribes of Indians in parade at Pendleton, then come the thrilling scenes of bull-dogging steers, riding bucking bronchos, the cowgirls' race and the race with wild horses. In the course of the round-up the knocking senseless of cowmen and cowwomen is passed by with the indifference of an every-day occurrence. "Making Cord to Bind Uncle Sam's Harvest" (Paramount-Bray). In the 99th release of Pictograph will be found a well illustrated description of how binder twine is made. Made of sisal hemp, a product of Yucatan, Central America, this useful article is seen to oass through the various stages of its development to the finished product, neatly wound into balls. The picture finishes with scene? in a harvest field, showing the harvester at work. "My Lady*. Veil" (Universal). The manufacture of that delicate and often fantastically designed article of apparel, "my lady's veil," is illustrated in the Screen Magazine No. S3. Here we learn that the best quality of veil is made from the finest Italian silk, which is converted from a skein to a spool previous to its being consigned to the warping mill. The weaving of the veil on a 16-ton machine, which weaves from 14 to 40 widths at one time, is shown, and also the dyeing, drying, brushing and rolling of the veil on cards. The making of fancy Chenille veils, the ornamentation of which is put on by hand, is an interesting feature. "Great Natural Industries of Canada" (General Film-Essanay). According to the fourth number of the Essanay series, "The Wonders of Nature and Science," the natural indus- try first in importance in Canada is the timber industry. This picture gives a good idea of the vast timber resources of the Dominion and shows the logging methods followed on the Nashwaak River, near Frederickton, New Bruns- wick. A log jam of one million feet of timber is an interest- ing feature. Some good illustrations of the paper indus- try are included in the film, and also interesting scenes, showing the dynamiting of asbestos from its natural bed. "Training United States Hospital Units" (Universal). An interesting series of views contained in Screen Maga- zine No. 53 shows the careful training of United States hospital recruits in the art of bandaging. We also see a messenger bringing news of wounded in the field, recruits beating through the bush in search of wounded, a soldier with a fractured leg receiving treatment, the applying of the splint, etc. The treating of an unconscious soldier suffering from a head injury is also shown. The value of quick action in cases f emergency is one of the points made in the picture. "Behind the Scenes" (Universal). An interesting series of scenes will be found in the Uni- January 5, 1918 THE MOVING PICTURE WORLD 73 versal Screen Magazine No. S3, showing how the wonder- land of the stage is whipped into shape by scene painters and their aids. An interesting part of the picture illus- trates the various things that happen behind stage to pro- duce the effects which add realism to the play; for instance, what you hear when "Lizzie knocks Pat down the back stairs." An attractive subject. Visual Education Theories Motion Picture Bulletin Issued from the Visual Education Division of Los Angeles County, California, for the Benefit of Schools Interesting in Character. THE VISUAL Education Division of the Los Angeles County Schools has issued a revised motion picture bulletin for the benefit and enlightenment of schools in that vicinity. The bulletin is issued from the office of Mark Keppel, Los Angeles County Superintendent of Schools, and contains information on various points relat- ing to the use of film and stereopticon slide in the school for purposes of education and entertainment. The follow- ing extracts may not come amiss for those who have not the immediate opportunity of reading this bulletin: If a school can afford motion picture projector equipment we do make such a recommendation provided it is understood that its main service at the present time must be limited to general educative results having a social and cultural value rather than to class-room If the pictures are educational in nature they should be shown dur- ing regular time alloted to instruction and not at recess or after hours. No school should buy a portable projector without doing so as a result of adequate investigation or competent advice. It is not safe to use moving pictures without a booth unless slow burning stock is used. . The only practical method of securing slow burning film, in the bene! of this department, lies in the line of co-operative purchase by different schools and districts. .... The county bureau does not advocate the use of any film which is not of standard width and perforation. We believe that schools throughout the country eventually must co-operate to solve this problem, and that to do so standard film must be depended upon. The idea of the booth is identical with the idea of a stove. It must be ventilated and must have an exit into the open air for the escape of gases, hot air and fumes. Unless a portable booth is connected by an adequate outlet with the open air it is entirely unsafe and has no protective value whatsoever, being, in fact, more dangerous than no booth at all. There is no charitable agency producing educational film for the benefit of the cause. The county ofiice is not provided with funds for the purchase of film for free use among the schools. Such an enter- prise would be a prohibitive expense. The one best book on motion picture work is entitled "Motion Picture Handbook." Its author is F. H. Richardson, editor of the projection department of the Moving Picture World. This book is simply written, can be easily comprehended by any intelligent person of sixteen years or over, is very complete, and gives exhaustive information on every phase of motion picture work. In addition to such information as contained in the fore- going, the bulletin gives a list of feature films merely by way of suggestion and explains exchange and rental matters, giving names and addresses of well-known firms which may be safely dealt with in the matter of equipment and material. Hugo Riesenfeld is deserving of particular commendation for the choice of musical numbers composing this pro- gram each of which is significant of a certain type ot musical composition. Following the rendering of Hail Columbia" the overture of a Glinka opera, described by Mr. Spaeth as having been a failure, was played, this overture, culled from this opera as a gem of musical com- position, is significant of the Russia of Glinka's day, sug- gestive of the poetic romanticism, the tragedy and all the cooped-up emotions of a down-trodden people. Then there was the minuet of Mozart, simple in motif and suggesting at different times the light fantastic of the cultured dancer, or the heavy tread of the peasant. The group of songs beautifully rendered by Mary Ball, beloved of Rialto audi- ences, were in the main children's verses set to music. These were quite within the range of the child mind, and were also much appreciated by older members of the audience. An educational film, with animated colored illustrations of birds of different kinds feeding their young, was followed by that delightful tone poem of Grieg's, called "Erotique, the (a) number of an interesting group, among which was a composition by Hugo Riesenfeld, descriptive of the impressions of people from different parts of the earth, who suddenly find themselves doing Broadway for the first time. The numbers by Kriens were suggestive of a new era in American music, in which that which has been known as popular music takes, to a certain extent, the form of the American classic. It is to be hoped that other theater managements through- out the country may emulate the example of the Rialto in this particular, for it must be recognized by thinking people that the frequency and power given to such move- ments will go far toward giving America her place among the cultured nations of the earth. The ten-cent price of admission charged for these Saturday morning per- formances make it possible for the children of the rich and of the poor to share alike in the educational benefits to be derived from such a commendable institution. Educating the Children Saturday Morning Musicale at Rialto Worthy More Than a Passing Comment. THAT the moving picture theater can be made educa- tive in a musical capacity, as well as by means of actualities transmitted to the screen, is being proved by the management of the Rialto Theater in the series of Saturday morning musicales held there. These musicales, which are being continued throughout the winter months, are being nicely attended by the more intelligent class of patrons that such an experiment is bound to bring forth. Started with an eye to providing educational entertainment for the children, these Saturday morning performances, which consist chiefly of wisely chosen orchestral numbers, rendered by the Rialto orchestra of fifty musicians, under the efficient leadership of Hugo Riesenfeld, have become a delight also to parents and others of more advanced age. One of these Saturday morning programs attended by the writer consisted of the following numbers, introduced, and in some cases explained, by Mr. Sigmund Spaeth, music editor of the Evening Mail. 1. Hail Columbia 2. Overture Ruslan and Ludmila -----. Glinka 3. Minuet from Symphony in E-Flat Minor - Mozart \. a ) In Winter I Get Up at Night ------ Nevins b) A Pocket Handkerchief to Hem - Homer c) The Cuckoo Clock -------- Schaefer d) I Am Weary of the Garden. Said the Rose - - Hawley .">. Educational Film ("How Birds Feed Their Young") 1>. a) Erotique ----------- Grieg b) Along Broadway -------- Riesenfeld 7. a) Sunday Morning at the Plantation - - - - Kriens b) March Negre - --_-_.__ Kriens .8. Pomp and Circumstance ------- Elgar It. Star Spangled Banner AN INTE1 sent in tells of "The School of a Soldier" Camp Gordon, Ga., Demonstrates Its Appreciation of the Moving Picture as an Educator by Adding a Three- Reel Picture to Its Regular Course of Training. N INTERESTING bit of news from a southern camp, by A. M. Beatty, our southern correspondent, tells of the use of the moving picture as an aid in training the soldier. It is as follows: The Government has added moving pictures to its soldier training program, and a three-reel picture, "The School of a Soldier." is being shown to one regiment each night at Camp Gordon, Ga. The picture was made at West Point, and West Point advanced cadets, the best drilled men in the world, are the actors. It begins with the various courtesies, showing the correct methods of saluting — a private saluting an officer, an officer saluting an officer of higher rank, and so on. It shows the military reverence to the colors, the proper methods of salute outdoors and indoors, on and off duty. The same as applied to the playing of the national anthem is shown. The student-officers are then taken through the manual of arms, the various drills, from the setting-up exercises on through the advanced stages, with the different formations. The use of the rifle is then demonstrated in minute and interesting manner. Captain Burke, of the United States Army, is the actor in this demonstration. The picture is intensely interesting, and is one of the most appre- ciated training methods yet adopted by the War Department. Every soldier at Camp Gordon will be required to witness the picture, and to study every phase of the training program therein shown by the efficient young West Pointers. NEW BURTON HOLMES TRAVELOGUES. Beginning with New Year's Day, Burton Holmes starts his Travelogues in the circuit of cities which includes New York, Brooklyn, Boston, Worcester and Orange, N. J., his subjects this season being distinct novelties, the results of his journeyings this past summer around what he calls "The Militant Pacific." For years Mr. Holmes has sought an opportunity to visit the Antipodes — to see Australia, New Zealand, Tasmania and the lovely islands of the Pa- cific, renowned in poetry and prose, from the days of Captain Cook, the great explorer, to those of Robert Louis Stevenson and Jack London. He has always wanted to visit Northern Japan, hitherto un-Travelogued. He has also felt that our own Alaska should be brought home to his patrons, that they might mark the changes and develop- ment of this gigantic country, measured by a rule which could stretch from New York to San Francisco. This last summer, with Europe closed by the war, gave Mr. Holmes his chance and the coming series here brings pictorial proof of the delights and wonders of his 35,000 miles of travel. Every Sunday and Monday for six weeks Mr. Holmes will be heard in New York City, Tuesdays in Orange. Wednesdays in Brooklyn, Thursdays in Worcester, and Fridays and Saturdays in Boston. 74 THE MOVING PICTURE WORLD January 5, 1918 To Brighten Soldiers' Christmas Merry Christmas in the Camps to Be Aided by Use of Moving Pictures — Camp Mills to Be Well Looked After. WHAT would the cantonments be without the pictures? While we are talking about the many advantages which the soldiers are enjoying as compared with previous experiences in war times (although many hardships still exist), nevertheless great credit is due the moving picture in that it is a power in every one of its applied properties for the benefit of the soldier. At Christmas time especially it is filling a large place in all parts of the world, arid in addition to its entertaining and instructive qualities, it comes nearer than anything else to giving the soldier boys a genuine touch of the true home feeling he so much longs for. In Camp Mills, the nearest large camp to New York City, plans are being made to give the soldiers as good a time as is possible under the circumstances. The nearby churches are furnishing the singers who shall, by carols and other songs, make bright many evenings at this festive season. Pictures are to fill a large place on the program, and the Rev. W. H. Jackson, of the staff of the Moving Picture World, is in charge of this part of the work, and will see to it that the boys get that which is good, although he has already been notified that Fairbanks must have a good look- in on the program. The Christmas Red Cross drive is also looking to the pictures for a special introduction, the part of the exhibitor being that of exhibiting the "Trailer" each evening. The ten millions of members required is but ten per cent, of the population of the United States and may be easily realized if all do that which is required of them. Particulars of the "Trailer" may be found on page 1863 of the Moving Picture World. Strand Exhibits "Blood-Stained Russia" Patriotism Strongly Evident in Strand Theater Manage- ment's Presentation of Vivid Portrayal of Results of German Intrigue in Russia. A LENGTHY review of the Donald C. Thompson series of Russian pictures vas printed in our issue of December 22; it will, therefore, be unnecessary to retrace our steps to cover the same ground. We would, however, like to draw special attention to the attitude of the Strand Theater management in showing these pictures with their original subtitling, which are worded in the strongest possible anti-German language. In these pictures is also concentrated a rousing inspira- tion to men and women alike to join in the great fight for democracy. The baldness of their truths makes us wish that their subtitles might be translated into all the languages of the earth, and that they might be given a world-wide exhibition. Could the poor, misguided Russian people, for instance, see these pictures, and read in a few brief, clearly enunciated statements their own pitiful story, German propaganda might lose considerable if not all of its force. The exhibition of the Donald C. Thompson pictures in any and all theaters in the country constitutes an act of democracy and patriotism on the part of each individual .manager. These pictures are being handled by the Pathe Exchange, Inc. Items of Interest. An excerpt from an address delivered by Orrin G. Cocks of the National Board of Review before the Commonweal Club of Syracuse contains interesting facts. It reads thus: The Government, for instance, has been puzzling over the question of uniting the whole nation for the war. Some departments realize that they speak a language which does not reach the majority of the people. They have reached the cultured classes, who do not need to be reached, and have deluged them with facts, arguments, criticisms and Information. All the while the motion picture has gone unostentatiously about its work of bintiing together the common people for this vast enterprise. "Government officials now have commenced to see a great light. The Red Cross, the Food Administration, the Liberty Loan, the Committee on Public Information, the Treasury and Agricultural Departments, as •well as others are trying constantly to use motion pictures. The Govern- ment also, in its relation to foreign peoples, recognizes that a far more •effective instrument for carrying American ideals and principles than the public press is the motion picture. If this agency had been used from August, 11114. to the present day in the cities, towns and villages •of Russia the present attitude of the Russian people would have been decidedly different. There might have been no attempt at a separate peace. Italy. France and the northern countries also need a con- tinuous stream of motion pictures which actually interpret American Site and American democracy to the common people." » * * The latest in animated news weeklies is the "Independent- American Weekly," which will presumably be handled on a state rights basis throughout the country. F. W. Brooker, Animated Press Syndicate, 71 West 23d street, New York City, is named as the proprietor of this new venture. The first issue of this weekly was released on December 16. * * * Universal Current Events No. 32 contains an extensive footage of film covering the Halifax disaster. The scenes of the film are carefully presented and subtitled, unneces- sary exhibition of horrors has been wisely eliminated, while the devastation of the city, and scenes in the harbor show- ing the remainder of the relief ship Imo have not been overlooked. * * * A film entitled "Eye Hazards in Industrial Occupations" was recently exhibited at the Russell Sage Foundation, 130 East Twenty-second street, New York City, for the purpose of illustrating a lecture on the prevention of blindness. This reel of film was made up of scenes culled from a two- reel picture made by the Visual Education Company, 67 Irving Place, New York City, entitled "The Reason Why." The latter was made for the U. S. Steel Corporation for exhibition before its employees. * * * An attractive subject included in the Paramount-Bray Pictograph No. 99 is entitled "The Diary of a Dog Chauffeur." This subject, more amusing than educational in character, shows a wonderfully intelligent ^dog named Poughkeepsie Rex driving a motor on a crowded New York thoroughfare. To all appearances he guides the car him- self. The more credulous will be not only pleased but astounded at this dog's performance in the capacity of chauffeur. * * * The Pathe screen magazine, "Argus Pictorial," contains in its fourth number a wealth of interesting material. Fox- hunting in Virginia makes an entertaining opening'feature for this number, giving characteristc scenes from the chase as it is practiced in that State. "Garden Monsters" is a series of close-up studies of crickets. June bugs, robber flies and other familiar creatures. "Numbers That Draw Pictures" is an interesting subject, demonstrating the way in which a swinging pendulum marks out curious patterns with colored sand. Freuh's "scissorographs" consist of animals and figures cut out in paper form, going through amusing antics. Marie's Beauty Not of Garden Variety Sylph-like Comediene, Who Admits Venus de Milo Has Nothing on Her, Takes Issue with Famous Singer. IN an interview published in a New York newspaper cecently Mary Garden declared that she had no use for "beauty doctors, beauty curists and the beauty banditti in general." She went on to say that women who depended upon creams, lotions and powders for their beauty always got left in the end, for cosmetics never caught up a sagging cheek or concealed a facial furrow. Cold water, good food, eaten moderately, no sweets and never a cocktail — this was Mary Garden's prescription for wholesome beauty, the beauty of good health. Marie Dressier, equally well known among professional beauties, is quite frank in saying that she regards as rubbish the opinions on beauty as voiced by her sister artist. "Mamie Garden knows as well as I do that we wouldn't be beautiful at all if we were not helped out by the beauty doctor. She calls him a bandit; to me he is a benefactor. I owe my figure, my complexion and my voice to cultiva- tion. If Mame didn't believe in beauty doctors why did she ever take vocal lessons? A singing teacher is as much an improver of beauty as the woman who plasters your face with cucumber cream and turns on the steam spigot. "Regularly I depend on the very things the prima donna says she scorns. In the morning I have my massage with violet oil. then a honey-and-milk lotion is applied to my face, followed by a secret cream made of fruits and flowers. The powder I use is also a secret. More than anything else I owe the beauty of my face — which is its expression — to this treatment. I dare the Garden girl to use it and not be a changed woman. "My perfume, too, means a lot to me. I am sending a quart of it to the Goldwyn 'Thais.' When she gets a whiff her senses will reel and her ideas of beauty will get a jolt. Never, never will I tell what is in the perfume. It's so 'different,' as the advertisements say. It is called 'The Soul of Marie.'" January 5, 1918 THE MOVING PICTURE WORLD 75 -p g g« g> ^° §g fg g g g §g|g |g g> g. €T • • • 3 'S «S»^ -S -^ g g ^ |jg »S -5 °'5^^^^ Advertising for Exhibitors Conducted by EPES WINTHROP SARGENT *^« ^- g> ^ s> sr» ^ »> *sr sg Real Press Stuff. JTMQUIN, of L. A., has ranked well as an advertiser, but he had to go to Texas to find the real answer to press work. Jimquin wandered down to El Paso to see what things wt-re like down there. He hooked up with the El Paso Film Service. Before he hooked up he did a little Red Cross work. The local chapter was preparing for a pageant, and they had no press work, so Jimquin voluntered his services, and he writes : The first story I brought in was turned down by the city editor. He said it would do for an editorial, but they were only interested in "news." Well that made me mad — not at them but at myself for bringing them in stuff they would refuse and I went right back to my little corner and chewing another inch off my pencil — no we don't use pencils nowadays, do we? — I settled down to turn out stuff that they told me they were glad to get and which was published in nearly ever case in its entirety. Incidentally I learned something in the pro- cess. News writing is much, very much, different than write- ups of your show in your paid space or your programs or in fact anything else but "news." I made it a point to tell the editor that I appreciated his turning my first contr'bution. I did, too, because he made me get a hump on mentally and write stuff that was worth while. This is the one big lesson in writing press work. If you have a theater you are supposed to get a certain amount of press stuff along with it, and most good natured editors will slap in anything you write. They regard it as part of the price they pay for the advertising patron- age. But the fiesta was different. The space was free and the press- man had to pay for the space in news value. He had to write news and not editorial. He had to tell facts and tell them well. It was easy for Mr. Quinn to change the style of his offering to suit, but he had to go up against the press game as an outsider to learn the basic fact of press work. Real press work is not puffery but news. Press work benefits the house precisely in proportion to its news value. It is not sufficient that you get the stuff printed. It is not even enough that you get it read. You must interest, and to interest you must offer attractive news items and not flub. No one gives a whoop in the regions of the unblest about flub. They read it cold and unmoved. What people read with interest is news, or what has a news value. They do not care that Miss Bianca Bluff or the Bingo films is preparing to do something for the soldiers. That is not news, it is merely notice of intention. They want to know that she has done something. Learn to give a news flavor to your press stuff. You'll not only find it easier to plant, but it will help business. This is all carefully explained in PICTURE THEATER ADVERTISING, yet even Jimquin did not get the idea. Remember that the first great rule of press work is this : Press work is of value only if it interests the reader and inspires him with a desire to patronize the theater. Goldwyn Advertisements. Kenneth Macgowan, of Goldwyn publicity, sends in some interesting examples of the use exhibitors have made of the Goldwyn ideas. The most novel is the heading of an issue of the Miami (Kansas) Republican, in which the announcement of the picture at two theaters is made in the "ears" of the heading. This is a small paper and probably the 1 readers are used to strange happenings, but in a larger gMPRESg Pub. Fridiy. Oct 19 M A X 1 ft E ELLIOTT EK" E5 S m»w Iwri iilPplfi at* ':• lii'.Hn LI: i ESTABLISHED IN I 1 REPUBLICAN. PAQLA. KANSAS OCTOBER i VOL Lit. NO. town, for a special display, this heading position might cost what the publisher charges — tor once. The disadvantage lies in the fact that not much room is given for argument, the name of the star and play together with the dates being about all that is possible, but it certainly seems to be a preferred position in the advertising sense of that term. We think that J. W. Llewllyn was the first to use this display, but it has been several years since we saw it — or heard from Mr. Llewllyn, for that matter. In the second example the advertisement on the left is for the New theater, Baltimore, Md., and that on the right for the Majestic, Port- land, Ore. The latter is a good example of an advertisement well held together by its border. There is not much argument, but the facts are set forth, and it all hangs together because of the inclosing rule. Breaking the rule to get through the arm and rug also helps to gain an effect. To have run the rule over to the extreme side of the cut would not have been as effective, for the reason that oddity, within due bounds, always attracts. Pulling in the rule around the cut gives a white margin emphasized by the protruding arm. The display was surrounded by advertising on three sides, and this white space helped much to keep the advertisement distinctive. In the other example the use of rule around the cut isolates it slightly from the rest of the dis- play, but running the text diagonally below helps to hold the cut in the space. Here there is plenty of argument, and if you will look at the cut carefully you will note that there is a line of six point between "Goldwyn" and "Jane Cowl," and again between the name of the star and the title. We don't know how the management induced the printer to permit the relatively unimportant lines to stay in the & HEW* MECTRE ALL WEEK (SflfowtJlt JANEJOl SPREADING Gotdwyn Pr«mts MAXINE ELLIOTT "Fighting Odds" b? DAP Totrn from ike Sahmhv Ewnitrg Po,?. iterv by Basil King snd pkyiOE uf ihr Surta A - m rn»ltd in f'li" ■■'.''■ "Il a cnitifj lyditOxirlinilhr julhonlir MUMl Adultery iKjll I* trvrrr^ -kwd >~o I • til 1 clCuLlI It Ha A Kwtd or> HWir UPpfrmml o A Wonderful Film 1 Wonderful Story NA1HAWEL HAWTHORNE'S Tragic Story of Old Puritan NewEngland-admHtedly the Creates! American Novel- — The Scarlet Letter Every Sfurfenf of American literature should see it--- Sluari Holm, s as Paslor Dfmmesdale Piper's Opera House Tomorrow JSSS* qoq out ind it ItU. ,M« ™ »l jl, irJJ hi un he m i k* nam prodWiran in .. W. j^flfrrmlBl PIPER'S OPERA HOLSe -Prescnfa- Lj George BMWalsh In HIGH FINANCE P Hewn* I iKji if-.fr. u m \j,,, ,b iLiguix u J>t lIumE tnd L — IrluflipWl' Piper'sOperaHouse Tomorrow gSt* t awititj - wd he -mi iKt (.(1— in J lit short lh« old mm rt l.jhi in hin ih.r. htna tilled HI i g? ^ g» g go ^- «:• €c» §5 g» g • j '-a »-s -s «;s> »g ■$& ^° ^° ^" e Ijj ^ e ^> - e '^ ^jg/ %\ H ^_ * * * S e -^ S 51 °> ■> e ^ p ^^!^j? ^ ^ a> ^ ^ Manufacturers' Notice. r T IS an established rule of this department that no apparatus or other goods will be endorsed or recommended editorially until the excellence of such articles has been demonstrated to its editor. Important Notice. Owing to the maBS of matter awaiting publication, It is Impossible to r*ply through the department in less than two to three weeks. In order to give prompt service, those sending four cents, stamps (less than actual cost, will receive carbon, copy of the department reply, by mall, without delay. Special replies by mall on matters which cannot fee replied to in the department, one dollar. Both the first and second sets of questions are now ready and printed In neat booklet form, the second half being seventy-six in number. Either booklet may be had by remitting 2.1 cents, money or stamps, to the editor, or both for 40 cents. Cannot use Canadian stamps. Every live, progressive operator should get a copy of these questions. You may be surprised at the number you cannot answer without a lot of study. From Australia. Lesley H. Cornell, Grand Theater, Perth, West Australia, sends the following interesting letter across 3,000 miles of land and heaven knows how many miles of brine. May I be permitted to ask a question? I am head operator at the Grand Theater, the finest and most costly continuous house in this state. It will have been opened twelve months the 20th of this month [September. — Ed.]. The projectors are "Simplex," and the trouble concerning which I desire to con- sult you has caused me a great deal of worry and experiment, only to get right back where I started from. When working with a 1 Mj-mch spot, which seems to be plenty large enough, if one may judge by looking, I get a faint shadow at the top of the screen and at bottom of same a faint bluefsh spot, which * latter appears to me to be the tip of the lower carbon. Can remedy this to some extent by increasing size of spot to full two inches, but this means waste of light. The sketches will, I hope, make the matter clear. Have tried spacing the con- densing lenses; also have moved condenser various distances from the film, but have failed to entirely eliminate the trouble. Here are my present working conditions : Dallmeyer projection lens, 4-inch E. F. ; 3-inch B. F. Distance apex front con- denser to aperture, 0^ inches, with condensers close together ; distance arc to back condenser, 3Va inches, using 4 Ms menis- cusbl-convex lenses. The throw is 100 feet and the picture 22 feet ; use GO amperes. Have the operating room very neatly fitted out, a special feature being the large air shaft. In summer I can work com- fortably with my collar and tie on, which cannot be done in all Australia operating rooms [or in all United States and Canadian ones, either. — Ed.]. The theater was built at a cost of £5,000 in addition to which the Atex Organ Orchestrelle cost £1,500. In addition, we use an orchestra at night. There, I am getting away from what I started to ask you about, but I am sure you will be pleased to hear from one of the boys on the other side of the globe. Have been intending to write for some time, but this is my first. Assure you, how- ever, it won't be my last. Sent for third edition of handbook some time ago. It will doubtless be received before you get this. Am regular reader of the M. P. World and study the department each week; also have complete Hawkins' Electric Guide, which I could not afford to be without. Have been in the profession five years, having served two years as apprentice. My first "real" position I held for two years, at the end of which I was sent to take charge of projection at the Grand. My word, Mr. Richardson, but we operators still have lots to learn before we may finally rest on our oars and take it easy, and I for one have tried hard to improve on my knowledge and work. I must say in justice, to you and your department ["Our" department. — Ed.] that through it I have gained a vast amount of knowledge. If we only had a man like yourself out here we would be happy. My word but the American men have something to be thankful for in having you there And now here is a simple little device I have added to my machines. You might set it forth in the department for the benefit of Simplex users. I got a strip of aluminum 1/lG-inch thick and slightly wider than a film and attached it as shown in illustration. The idea is to prevent the end of film, either at start or finish, from picking up the oil which works through from the bearing. And now, before closing, would like your opinion as to condensers; do you think the discoloration I get is due to too short focal length lenses, the same being of very poor quality and uncorrected — the only kind we can get here. So far as I know our other shows have the same trouble. We can get no other sizes than 4 and 4V&. Your letter will interest our readers, I am sure, even as it has interested me, though I am afraid I will be unable to help you much /, inches plus thickness of bi-convex lens, or about 10 inches in all. His ratio, therefore, is a little more than two to one. No wonder he cannot get results. The depth of the cooling plate is about % of an Inch and with the condenser so close there would be a shadow cast on the top and bottom of the aperture. This clears up some- what when he advances his arc, because by so doing he widens the angle of those rays coming from the central points of the condenser, thus shooting them up Into the opening. Remedy: Withdraw the lamphouse until the distance between the con- denser and aperture is about IS inches. Then take a piece of cardboard about the size of a slide and puncture In It three pin holes, one in the center and one in each of two diagonal corners. Place this In the slide-carrier and move the arc until the beams focus at the cooling plate. Having completed this, X3fl shut off the current and measure distance between crater and condenser. The correct distance for a (10-ampere d. c. should be between 3.25 and 3.5 inches from the surface of the lens. For a 60-ampere a. c. arc it should be between 2.75 and 3 Inches. Australia has, I think, direct current [called "continuous" over there, I believe. — Ed.]. His condensers are of too short focal length, therefore, to bring the crater to its proper position. For every % inch his crater distance is too short, as compared 80 THE MOVING PICTURE WORLD January 5, 1918 to the above named measurement for d. c, add one inch focal length to the front condenser and everything will be 0. K. Example : Assuming 60 ampere d. c. If the three beams were in focus at the aperture when the crater distance was 2% inches and the front condenser was a 6V&-inch lens, In order to place the crater right for CO amperes it would be necessary to change the front condenser to (one added inch of focal length for each 14 inch difference between 2% und 3%) 8%-inch focal length. This would get us a crater distance of 2% plus % Inch, equals 3% inches. Get me? Here, friend John. Whatcha doin'? Holdln' out on muh? I'll knock your block off, or bite your northwest ear. Come across, man, come across ! Give us the whole dope on this new scheme. G-r-r-r-r-r man, I'm dangerous. Sort of a bad man from Bitter Creek, an' it's unhealthy to fool with me. Unless you kick in with the full dope I'll head Nancy Hanks toward Ansonia and argue the matter with you, unless I freeze to death on the way up. As to condensers, Brother Cornell, the United Theater Equipment Company. 1604 Broadway, New York City, will supply you with highest grade condenser lenses, any desired focal length, at $5.00 per set for meniscus bi-convex, or $3.00 per set of two piano convex. To this must be added fifty cents for postage. This would make it cost you $11.00 for meniscus bi-convex for both machines, or $7.00 for piano convex. If you order these I would suggest a 7>6 meniscus and 8Y2 bi-convex or a 6% and 7V 2 piano convex, with about 18 inches from apex of front lens to film with the first named and 16 with the second, the lenses to be as close as you can get them without touching. These lenses are high grade, but uncorrected. Up to this time we have no corrected condensing lenses in form practical for motion picture projection work. You certainly will not be able to get either good or economical results with your present combination of lenses. I was amused at the three pence P. O. money order for carbon of reply. It was all right, of course, but seems queer to have a three pence money order travling something like twenty-five thousand miles— halfway around friend world and back again. Compensarc For Mazda Lamp. Constant current flow, without any considerable variation in amperage Is one prime necessity to long life in the new Mazda projection lamp. Up to date the life of these lamps has, according to reports sent to this department, been almost anything else than satisfactory. For Instance : the Alcazar theater, El Paso, Texas, by its manager, J .E. Alarcon. says: "We burned out two lamps In the first five days be- cause the compensator would get red hot after a few hours' work. We have therefore gone back to the arc lamp." Many very similar reports have reached us, and failure to properly regulate current flow seems, from all I can learn, to be the principal difficulty insofar as satisfactory lamp-life be concerned. But now comes the General Electric Company and submits to this department a new compensarc which its engineers, working in con- Junction with the lamp department of the same company, have de- signed. This device is intended to give close regulation in current. It is described by the company as follows : The Type I Compensarc is a self-contained device, requiring no auxiliary attachments, and is rated 750 watts, 110/120 volts A-C primary and 20/30 volts secondary- The working parts consist of compensator, starting switch, rheostat and ammeter. The starting switch, rheostat handle and ammeter all appear on the front of the steel cabinet which houses the compensator rheostat and other working parts. The steel cabinet is arranged for wall mounting at point where the con- trols will be convenient to the projection machine operator. The starting switch at starting the lamp automatically puts some resistance In the lamp circuit, so that excessive rush of current through the cold filament is prevented. The ammeter indicates at all times the current passing through the lamp and the finer adjustments of currents are controlled at the will of the operator by means of the adjustable rheostat. The oper- ator can therefore easily adjust the rheostat to compensate for the slight variations In the commercial line voltage and thus conserve the life of the lamp. Since the Information was not sufficient to enable me to determine with certainty of just what the device consisted and bow it operated, I wrote the company at Schenectady, requesting further data, to which their engineers answer as follows : In reply to your request for technical information concern- ing Type I compensarc, we wish to report as follows : The de- vice is an auto transformer, provided with primary taps for coarse regulation of the voltage to the lamp. The one tap is designed for use when the primary supply is 110 to 115 volts and the other for use when it is between 115 and 120 volts. The fine regulation of voltage is secured by means of a 62- button rheostat placed in series with the primary. The start- ing switch is connected into the primary side of the device and at the first position inserts in series with the primary a resist- ance designed to cut down the rush of current which would otherwise occur through the cold filament of the projection lamp. The lamp connections are taken from the transformer at such points as will secure the proper voltage. The only question arising in connection with this device. It seems to me, is, will friend operator stay on the job and watch things closely enough to maintain the necessary, even amperage flow? This remains to be seen. If it is found there is no real necessity for automatic regulation of voltage it will be that much less complication but I am just a little bit inclined to question on this point. Well we shall see what we shall see, and If the General Electric finds automatic regulation to be necessary they will no doubt supply it. Meanwhile the compensarc looks very muchly like a long hop in the correct general direction. New Speer Carbon. The Speer Carbon Company, St. Marys, Pennsylvania, sends samples of the new carbon it is putting out under the trade name "Speer Alterno," together with descriptive booklet and remarks : "Would appreciate hearing from you at your convenience relative to this car- bon. Should you require additional samples or any further informa- tion please let. us "know." I will require "further information" before I can say much about the carbon. The man who could tell from looking at a carbon how it will perform In practice would be a wonder. Also it would be utterly use- less to make a test involving a few of the carbons. This department only supplies information of real value, otherwise it s usefulness would very quickly cease. It is hard to avoid error when every precaution is used. We can therefore not afford to neglect any. The principal claim for Alterno carbons is that they are noiseless for alternating current. If this be true, and they are equal to ordinary carbons in other respects, they will be welcomed by those operators who are obliged to use a. c. Concerning Alterno the manufacturer makes the following statement: The operators' difficulties, which included a wandering light, ghosts in the picture, sputtering of the arc, and a noise almost intolerable, have all been relegated to by-gone days. Operat- ing with the Speer "Alterno" Carbons the work in the booth is simplified and made a real pleasure. By the adoption of special materials, both in the body of the carbon and the core, the Speer Carbon Company is able to offer to the exhibitor and operator a carbon with Intensely bright, white light producing qualities. The illuminating qualities of the Speer "Alterno" Carbons bring out the minute details of the film and yet have a most pleasing effect on the eye. • • • Regarding the wandering of the arc or the flickering of the light, it can almost be said :"It cannot be made to wander" We are pleased to know that "work In the 'booth' Is at last to become a real pleasure." I trust Alterno will fulfill the very modest claims of brother Speer's advertising man, but I will nevertheless have to be shown as to the "become a real pleasure" end of it at least. Seriously, I shall have to tell the Speer Carbon Company exactly the same thing I told anotner large carbon manufacturer, who recently sent in large claims for a new carbon it is placing upon the market Personally I do not in the least doubt but that the new carbon has superior value. I am not here, however, to set forth my mere belief in matters of this kind. I must deal In known, substantiated facta. I therefore ask that you send to me the names and address of as many theaters as possible which are actually using the new carbon. I will then select as many as I may wish from the list at random and corre- spond with the chief operators, getting their opinion of the carbon. In this way I get first-hand, thoroughly reliable data from men actually using the product, under discussion and will be in position to tell my readers what the operator himself thinks about it. Incidentally, the list from the other manufacturer has not as yet arrived, though it probably will in due time. Speer literature advises the use of the "jack-knife" set as best for the new carbons. This is a serious error. Granting that the' operator can get a higher c. p. with that set, the fact still remains that no operator can or will maintain steady, even illumination with a jack-knife set. It simply Is not done. I have been working for eight years to eliminate the jack-knife, and am sorry to Bee a carbon manufacturer advising it. That heavy-headed error has worked much injury to screen illumination in the past. I was congratulating my- self that at last we had it killed and now the dry bones of its skeleton are rattled by a manufacturer. Shame upon you, brother Speer ! Let us have that list as soon as you can. Cut out that jack-knife abomination, and believe me when I say that I trust that the new carbon will prove to be of genuine value to the Industry. New Screen to Be Marketed. Prom the Middle West comes the following : In about two weeks (November 11) I propose to market a new screen, which will have a specially prepared surface giving a more distinct picture. This screen will be more easy on the eyes and will give added value to the tones and light- ing effects ; also It will require but two-thirds the light re- quired by the ordinary screen. I am going to demonstrate this curtain in a couple of Chicago theaters and will expect to do some advertising in your columns. Would you prefer seeing a demonstration before seeing my copy, and If you believed In my new curtain would you also help It along editorially? You will take notice that this manufacturer claims quite some considerable many things. And maybe he's In position to deliver friend goods too. Who shall presume to deny the possibility? But this is something like the steenth time we have been Informed by the en- thusiastic maker of a new screen that it was going to fill us with astonishment : that it was the one thing neded to put the industry on Its feet right : that ten amperes on its wondrous surface would do more, oh very, very much more than twenty on mere common screens ; that it would give depth, brilliancy, have no fade-away and — all the rest of it. But alas, also alack. We sigh to say that in the ointment were flies. Some were good screens, which endure unto this day and have many friends, though not exactly world beaters. Others were really remarkable until time waved his wand just a little way and — they went out of business. Others were never even heard of after the first great noise. And so it goes. No, friend manufacturer. We sincerely trust you have everything you claim, and have it in a form which will not . tarnish — a form which Old Man Time will let alone, BUT that must be demonstrated, and time is one great, little ole demonstrator. Certainly 1 will give your screen editorial notice, whether you advertise it or not, if you send samples of screen, not less than one foot square, for examination. But I cannot "help it along editorially" until I KNOW it is all that January 5, 1918 THE MOVING PICTURE WORLD 81 it claims to be, and time alone can determine that point. I hope you make good, however, because such a screen would be for the good of the exhibitor and the industry, of course, and anything which is good for the industry is welcome. I would not, however, adivise other screen manufacturers to abandon their plants just yet. Wait awhile and see what we shall see. You are all invited. Friend Palm Garden is one of New York's most popular ball emporiums, but we intend to show it what a real crowd and a real Big Doings looks like. His Third Enlistment. John E. Barnett writes from Anniston, Alabama, as follows : Have time to scribble a few lines, which I trust will find you in good health and enjoying the Big Town, as I certainly would could I but be there. This makes my third enlistment, and if the war continues it will not be my last. Being what most folks call a "crank twister," or a "film lacer," as operators are loosely titled here in Alabama, I just had to write you. I selected the most dangerous branch of field service, the 115th . U. S. Machine Gun Company, because it offered quickest results and most sat sfaction if ever we meet the Boche in France. Our craft is fairly well represented. There are quite some theatrical workers, but a majority thereof are operators. I recently joined the Mis-frame heavies which Brother Sherman started. Was then at the Maryland theater in Cumberland, Maryland, where Simplex machines hold the fort against all-comers. I have oper- ated some down here, for Y. M. C. A., using a brand new Motiograph, a jim-dandy mach'ne, by the way, using d. c, projecting a 20-foot picture at GO feet. .The boys enjoy pictures, as it is a very healthy, unsuggestive entertainment of new stuff. Exchange supplies five reels three times per week. Our pros- pects for getting to France are good, and soon, too, I think. Anniston has seven theaters. The "Noble" is a Marcus house, and B. F. Keith has a fine vaudeville-picture house under way. Operators here are Just about the average. Should you run across brother Sherman of the News please jog his memory concerning my case before I. A. Board in New York City. Brother Sherman is no longer with the paper you name. Don't know what he is doing. Seems to have crawled into a hole, yanked said hole In after him and sealed the opening. First time he comes out for air I'll nab him. Good luck to you, my boy. I have a son in the navy. He expects to sail soon and his ship will carry fighting men to France, not once but many times. You might happen to go on his ship. His name is Lee Richardson. He runs the blower engine — or that Is his duty now. Another boy who just simply adopted me for his father is already in France, in the aviation corps. I, myself, have some Liberty bonds and have "done my bit" in other ways. But It is something more than awful to have the boys slip out through the bay, one by one, and not know whether or no you will see them again. My own son is, 1 believe, thank God. at least comparatively, safe ; Br Is the son who "adopted" me, being in the mechan cal department and not flying, but there is Fred Bachman, Evers Abbey and many others who — well, I am getting to hate the sight of the narrows and the ocean beyond. It is, I think, even harder to stay behind and watch and wait for news one hopes to never hear, than it would be to tackle the trenches. Guess if I wasn't too ancient to be accepted I'd get on the job and do some lead projecting myself. Good luck, my boy, and may you come back safe, sound and with a sprig of olve in your gun's barrel and a paen of victory ringing clear, that all the world may know that right his triumphed. Chicago Operators' Ball. The editor is in receipt of a neatly engraved card, reading as follows : You are cordially Invited to attend the Ninth Annual Ball of the Scien- tific Projections Engineers, Local Number 110 of the I. A. T. S. E. and M. P. M. O., Wednesday evening, December Fifth, Nineteen Hundred and Seventeen. Coliseum Annex. And I would thoroughly enjoy being there ; also had the Invitation been received a week earlier I am not certain but that I'd have been on the Job — so you see what you escaped. I am writing this the evening before the date of the ball and am wishing for the Chicago men the very best time ever. Whoop-er-up, boys ; let joy reign unconflned. New York Operators' Grand Ball. On the night of February fourteenth next, New York Operators' Local Union 300 will give its annual grand ball at Palm Garden. Already the ball committee has plans under way which promises to make the affair one of the real events of New York's theatrical season. Preceeding the grand ball will be a vaudeville entertainment, the secur- ing of talent for which Is in the thoroughly capable hands of Will C. Smith, of the Nicholas Power Company. This as-ures the entire success of that part of friend program. The lighting effects will be in charge of this particular editor, and he intends that it shall be wc-th looking at. Mr. S. L. Rothapfel, managing director of the Rialto theater, will lead the grand march with one of the brightest stars of the film firma- ment. And to crown it all a moving picture of the grand march will be made, and will be shown at the ball at about two a. m. in negative form, the positive to be shown later if possible. Some doings, my boy, quite some considerable doings. The editor has been delegated to act on a committee of which Chas. Unger is chairman, to secure the attendance of Mayor Hylan, and what is more, we expect to succeed. Florence Turner will be there and we hope our old friend Anita Stewart will again favor us ; also there will be others. The editor has been delegated by the committee with the pleasint task of inviting every union within visiting distance to attend in a body, if possible, as the guests of Local 300. If all cannot come, at the very least we hope each union will send a delegation, and I will see to it that invitations, etc., reach you in due time. Come on, boys, get into the picture and maybe run yourself on your own screen, for we expect to get at least some of the film into one or more of the topicals. It Is going to be one great, big rip snorter of a howling good time. Controller Trouble. Pomeroy, Iowa, sends in the following unsigned letter: Am having trouble with my Power's Six A motor drive. Supply is 00 cycle, 110 volt, motor being built to accommo- date that current, of course. Have tried to adjust pressure on the friction disc, but it apparently makes no difference. Put on a new fiber wheel about four months ago. Operating room floor is cement and the vibration is something awful. Do you think some felt or cork under the machine legs would im- prove matters? Heard your lecture at Fort Dodge and sure got some facts drilled into my ivory dome, and they will stay there, too. You do not say whether or no you have a Handbook, Pomeroy, but presumably you have, and on pages 506 to 510, inclusive, you will find the Power's speed control fully described and illustrated, with full directions what to do under almost any possible kind rf trouble. You were very careless in your letter. You did not tell me whether or no Installation of the new fiber disc made any difference, and if so what difference? Presumably your trouble will be found in an uneven sur- face of friction material R 14, plate 2, page 500 of the Handbook. This may be caused by several things, the most likely being the carrying of excessive tension between the friction wheel and friction disc R 13, plate 2, and the leaving of the two surfaces in contact over night. Instruction No. 4, page 508 of the Handbook, says : "It Is, of course, necessary that there be sufficient tension or friction between the friction material R 15 and driving disc R 13 to pull the projection mechanism, but anything more than sufficient to accomplish this pur- pose will merely result in undue wear of the friction disc, friction material and unnecessary consumption of power in the motor • • • and the book then goes on to describe, in minute detail, just how to regulate the friction. Briefly it Is done as follows : at the end of the shaft carrying friction disc is a knurled thumbscrew. Loosen its locknut and slack off on the thumbscrew until friction disc and friction wheel are entirely out of contact with each other. Now start the motor and, having first set the speed control lever so that the friction wheel is pretty well in on the disc, slowly tighten up on thumbscrew until projection mechanism comes up to full speed and you are satis- fled there is no slippage between wheel and disc." Your tension will then be juts right. This must, however, be done with a film in the machine, and you must be sure there is no excess of tension and no slippage. Instruction No. 3, page 508 of the Handbook, says: "CAUTION : never leave the controlling lever down when the machine Is standing still. Always pull lever clear up so as to disengage the friction wheel from the disc. Failure to attend to this wilt probably result in flat spots In friction material." I think probably your trouble is due to this cause, plus excessive tension between the two wheels. The friction material may be trued up by following instruction No. 1, page 507 of the Handbook, which reads as follows : "Should friction material develop flat spots, or become eccentric in form, it may be trued up as follows : place point of new ten or twelve-inch coarse file on rod R 30, plate I (cross rod back of friction wheel), using rod merely as a rest and let face of file bear lightly on friction material, while motor is running. In doing this be very careful to have the file bear perfectly true and level (hold point of file flat on rod), else you will get the face ground off at a slant and it will not fit face of friction wheel squarely. No, cork or felt under legs of machine would do no good, since the vibration is presumably in the machine itself, though from your letter it might also be in the floor. It is necessary to be very careful In describing trouble. I am a long way off, Pomeray, and have never taken even a correspondence course in long distance mind reading. If my diagnosis Is not right you will have to be more explicit In describing the trouble. Projection Experience There Isn't an opera- tor'i bootb In the unl- rerae In which thlj care- fully compiled btmk will not un tu purchaie price each month. Bay it Today $4 the Copy Postpaid p.?t'u°r n e Handbook For Managers and Operators By F. H. RICHARDSON The recoenlzed atandard bond on the work of the operator. Complete deecrlptlona and Instructions on all leading machines and opt- rat inn equi pment. MOVING PICTURE WORLD Schiller Bide. 516 Fifth Avenue ^aWiildl)' Chicaco. 111. New York City i^, AnI ,| H , Cal. To save time, order from nearest office. This paper has never been published except In a Uinlon shop, •o It makes no difference whether we print the CnloB Label or not, but at the requeat of a few of our reader* to the editor of this department It Is printed herewith 82 THE MOVING PICTURE WORLD January 5, 19 IS ggll g g- - ^ g> s- g ^jgL5° ^ g -° g° g-g - • • > -X"°> -^ '°js p^-s* °^' °> ^ °js .'% . ^ °% ra - g Motion Picture Photography Conducted by CARL LOUIS GREGORY, F. R. P. S. g° c° s» s> g. g. ^s g> g- g> g- g> s- g- go g : . . s? gJIH^gl^^ -^ °^ °s> »^ gg gg . g .^ os ?s » Inquiries. QUESTIONS in cinematography addressed to this department will receive carbon copy of the department's reply by mail when four cents in stamps are inclosed. Special replies by mail on matters which cannot be replied to in this department, $1. Manufacturers' Notice. It is an established rule of this departmenl that no apparatus or other goods will be indorsed or recommended editorially until the excellence of such articles has been demonstrated to its editor. A Model Motion Picture Laboratory (Continued). Four huge drums are the predominating features of the drying room. Each of these drums hold 1,600 feet of film and they are kept rapidly revolving by means of individual electric motors. Temperature and humidity of atmosphere are very important in this room. Speed is desirable, but if the films are dried improperly the texture is spoiled and they are likely to reticulate or show granular markings. There- fore, to secure safety while speed is maintained, this room is supplied . with a huge air conditioner which automatically supplies air at proper humidity and temperature. This machine strains, washes and warms or cools the air as desired and according to the way its con'rol is set. In the assembly department films are cut, patched and put together at a long work bench which has a fibre board top — hard and clean. Each workman has an electric pocket set flush with the top of the board and covered with glass which is used to show every detail of the film. For patching and repairing the films are clamped down on a specially designed device like a vise. Special reels are used for wind- ing and unwinding. Each section of the long bench is fitted with steel receptacles for scrap and for finished stock. This room also contains the inspector's bench, with its special light box, through which the films are run, and a cleaning machine. The latter, operated by motor, runs the films over a system of rollers and brushes dampened with cleaning fluid. One factor of the department not previously mentioned and located In another part of the building, is the theater — a neat little auditorium with a seating capacity of 300. Every now and then the shop foremen assemble here to view films of an educational character. Distinguished visitors are also given a motion picture program in the theater and are frequently surprised to find themselves on the screen, as they have been taken by the motion picture operator unawares and the film has been developed while they have been inspecting the factory. The department also produces all the still photography used by the Ford Motor Company for advertising purposes, in all printed matter, etc Hundreds of portraits are made every week. Two special develop- ing rooms are devoted to 8x10 still pictures, and there are many spe- cial devices used in the still photography quite distinct from any of the movie apparatus. Among these machines is a mechanical dryer, which dries prints automatically and in short order by a blower system, so that the pictures do not curl up. The still department produces a large number of pictures of machinery and parts and thousands of lantern slides. Such has been the development of two years, and it Is doubtful if there is any other industrial establishment In the world that has used photography to the extent the Ford Motor Company employs that art In merchandising and in spreading an industrial message. It is the first manufacturing plant to use the motion picture and the only one to maintain such a department as an integral and constant factor of its system. But in spite of the amazing growth of this department the end is not yet in sight. More room is necessary and arrangements are already being made for additional space. Valuable Book Issued by Eastman Kodak Company. Abridged Scientific Publications from the Research Laboratory of the Eastman Kodak Company, Rochester, 1917. This is the second volume of abridgments of scientific papers published from the laboratory of the Kodak Company, and contains abridgments of the material issued during 11)15-10. It is not intended for general distribution, but is rather of interest to advanced workers along certain lines. The subjects covered are wide in their application to the many phases of photography, and, as will be surmised, are of a technical nature. These abridgments are highly condensed results of about twenty-five papers giving the results of important investigations into various photographic problems, some of which have a very important bearing upon cinematography Among the subjects may be mentioned "Projection and Focusing Screens," "Relative Photographic and Visual Efficiencies of Artificial Illuminants." "Proportional Reducers," "Optical Properties of Light Filters," etc. . Pyro Developer for Titles. In view of the expense of the regular hydoqulnone title developer the following pyro developer will give a density equal to the regular hydroquinone-caustie title developer if used for a little longer time, a preferred time and temperature being five minutes at 70 degrees Fahrenheit. The following is the formula: Avoirdupois. Sodium sulphite, anhydrous C lbs. Pyro 13 oz. Carbonate Soda, anhydrous 2 lbs. ■ Caustic Soda, pure 3 z. Potassium Bromide . . . | '. . . . G oz. Water 10 ga i. Dissolve the sulphite in some water, then add the other ingredients In order given. If it is required to keep the developer a long time it may be desirable to make up and keep the soda as a separate solu- tion, or, better still, make up a concentrated stock so.ution with less water and keep the stock solution in a large bottle, with a glass siphon for removing the developer, protecting the solution from oxida- tion by pouring a layer of heavy cylinder oil about a quarter of a inch thick over the top of the solution, where it will flow In a heavy viscous sheet on top of the solution, protecting It eifectually from the atmosphere. A short piece of rubber tubing drawn over the en J of the glass siphon and constricted with an ordinary spring clothes-pin provides a good air-'tight stopper, which may be opened by pinching the clothes- pin. When wanted for use dilute with the requisite amount of water and use immediately. As pyro developer oxidizes so rapidly this formula is only recommended for use with the drum system of develop- ment, where the small amount of developer used for each fresh drum may be thrown away and a fresh batch used for each new drum. "Pictorial Photography." "Pictorial Photography, Its Principles and Practice," by Paul L. Anderson, E. E.. is a new book that should be in the hands of every photographer interested In the pictorial aspect of the work. The book, of over three hundred pages, contains over twenty balf-tone Illustrations, nearly twice that number of line cuts, and is handsomely bound in cloth. Mr. Anderson, a well-known contributor to photographic maga- zines, has in this book, achieved a most gratifying result by tbe method employed. While the work is authoritative and technical matters have been treated in a scientific manner, a too strict adherence to technical language has not been permitted to detract from the usefulness of the information imparted. Not only this, but the extremely elementary Instructions with which the average book of this character Is burdened, has been very sensibly left out. The remarkable part of the work lies' in the fact that while Mr. Anderson has a keen appreciation of the pictorial possibilities of photography, he has a clear grasp of the scientific principles upon which the worker must base his efforts If success Is to be achieved, knowing that a knowledge of these underlying principles will enable the worker to so command the technique of photography that he may secure the results necessary In the carrying out of his artistic Ideas. Special attention has been given to the intimate relationship existing between the two, with the result that tbe book is an exceptionally Informative one. while still being most readable and enjoyable. Published by J. B. Lippincott Company. "How to Take and Make Moving Pictures." The above is the title of a handsome little booklet of about fifty piyes, filled with most informative matter in keeping with the title This book Is issued by the Ford Optical Company, ltCD Sixteenth street,' j-enver. Colorado, and sells for the modest sum of thirty-five cents post paid. The book contains some twenty-five or thirty illustrations that adds much to the clearness of the instruction that is given. An idea of the field covered can be gathered from a few of the chapter titles, which are as follows: What is a Motion Picture? The Camera and Its Construction, Lenses and Formulas, Developing the Films, How Films are Printed, Toning. Dyeing and Coloring, Title Making, Mis- framing, Causes of Unsteady Pictures, Flickering and Electric Mark- ings, Trick Pictures and How a Motion Picture Can Be Made 'n Pay. •Copyright, 1917, by the Chalmers Publishing Co. "Cinematography for Amateurs." This is the latest addition to the well known English series, "The Amateur Photographer Library," in which- the author, Leonard Donald- son, gives us. In twelve chapters, a very comprehensive outline of what is required In the way of apparatus and "know how" for the production of moving pictures in an amateur way. Twenty illustrations and nearly a hundred pages of text are used without waste in telling how to start, with securing the idea for the film to projecting it upon the screen. The price Is quoted as one shilling, sixpence, postage two pence, which would mean sending about forty cents to the publishers. Hazel], Watson & Viney, Limited, 52 Long Acre, W. C, London, England. January 5, 1918 THE MOVING PICTURE WORLD 83 Berst Closes Big Deal Contracts Pathe Plays for Tom Moore's Eighteen Theaters in Wash- ington. J A. BERST, vice-president and general manager of Pathe, arrived in Los Angeles recently on a trip in • connection with the expansion of releasing plans for 1918, and it is stated that the greater program of Pathe Plays will occupy Mr. Berst's principal attention. Stars and studios, it is reported, are both scheduled for consideration and many important developments are expected as a re- sult of Mr. Berst's visit. On the way to the Coast, Mr. Berst, accompanied by his assistant, G. A. Smith, stopped off long enough in Washing- ton to conclude with Tom Moore, one of the most progres- sive exhibitors in the country, one of the biggest deals in film history of the Capitol. This calls for the showing of Pathe Plays in all of the eighteen theatres under Mr. Moore's control, a new $2,000,000 company to be known as Moore's Theaters Corporation having been incorporated, through which he will conduct the business of his houses. Preliminary negotiations with Mr. Moore were conducted by D. F. O'Donnell, manager of Pathe's Washington branch. "I was surprised," stated Mr. Berst upon his arrival in Los Angeles, "to learn the extent of the feeling of unrest among the exhibitors from coast to coast. This statement applies particularly to the large exhibitors, but I under- stand from my branches that same conditions apply also to the owners of the smaller houses, the backbone of the industry. "I do not think I exaggerate when I state that the situation is so serious, as to assume the proportions of a revolt. Everywhere 1 go I find the same situation. The exhibitors with whom I discussed conditions unanimously agreed that the greatest evil in the industry today is the high film rental being charged for unproductive pictures. "Torn Moore, whom I consider one of the greatest ex- hibitors in the country, offers a good illustration. Mr. Moore told me that he submitted to extravagant prices for stars as long as he saw a possible profit. But when an attempt was made to force him, through a contract, to show all of the pictures of one company, to the exclusion of all of the other companies, he stated he canceled in all ninety contracts for eighteen theaters. We are pleased to announce that Mr. Moore has arranged to show our forthcoming feature pro- ductions. "Before taking action along definite lines, I will make a careful survey of the producing activities in California. It is conceded that better pictures can be made for less money in California than in the East and I am considering plans which would mean a centralization of practically all of our production activities in or near Los Angeles." It is reported on good authority that Mr. Berst has un- der consideration several additional stars for his Pathe Plays program, a new company to produce comedies and another serial company. Standard Buys A. P. A. Engraving Plant "Billie" Huffman and His Associates Consolidate By Pur- chase Two Big Concerns Doing Business in Picture Field. NEWS of interest to the moving picture trade came to light last week when it was announced from the of- fices of the Standard Engraving Co. that the Stand- ard interests had effected the purchase of the big engraving plant which had been operated for some time by the Amer- ican Press Association and that the two engraving busi- nesses» Standard and American Press Association, would be combined under the name of the Standard Engraving Co. The enlarged business will be conducted at the present ad- dress of the American Press Association, No. 225 West Thirty-ninth street, New York City, the entire top floor of the big loft building there being used. The present quarters of the Standard Engraving Co. at No. 143-145 West Fortieth street, will be vacated as soon as extensive alterations at the Thirty-ninth street address, made necessary by the consolidation, have been completed. The Standard is "Billie" Huffman's business and the progress being made by the company is a source of much gratification to scores of people in the moving picture in- dustry with whom Mr. Huffman, Ed. Chilton, and their able associates have been dealing for years. The move to another address will be the second in the his- tory of the firm, which was organized in 1895 with small quarters at No. 61 Ann street, New York City. When the move to the Fortieth street address was made about twelve years ago it meant the establishing of the first engraving plant north of Thirty-fourth street in New York City. The present Standard plant, completely equipped to handle all kinds of photo engraving, employs approximately fifty workmen. In taking over the American Press Association shop the company secures equipment which will make neces- sary the employment of half again as many people and will make the Standard Engraving Co., Inc., the largest plant of its kind in New York City. E. F. Chilton is president of the company and William Huffman, treasurer. Griffith Spectacle for Picture Theaters Epoch Corporation Announces Change in Booking Policy for "The Birth of a Nation." THE announcement from the offices of the Epoch Pro- ducing Corporation that it intends presenting D. W. Griffith's wonderful spectacle, "The Birth of a Nation," in the representative picture theaters of the country was made this week. Although the great production which set a new record in motion picture history has been out for nearly three years this will be the first time that it has been played officially by the Epoch Company outside of the regular theatrical bookings in the higher-priced theaters. This change of policy is in keeping with the new demand for longer features in the regular motion picture houses. There have been many spectacles undertaken since "The Birth" came with its phenomenal rush in the Spring of 1915. but Griffith's great work still stands out as the crown- ing achievement in this enlarged field of the motion picture industry. The present plan of the Epoch Company, the corporation which controls this valuable property, is to reach the many million regular motion picture "fans" who have never been able to see this work. Elaborate arrangements are being completed to presen the big story in the same effective man- ner that marked its triumphs in the two-dollar theaters on tour. To those in the know it is not necessary at this time to devote much space to the history of "The Birth of a Nation." The concrete facts are that it is the most phenomenal suc- cess that has ever been produced in American theaters. It holds records for length of runs and popular responses in every first class or leading theater of practically every city in this country. These triumphs have been duplicated in Europe despite the fact that its appearances there were at the depressed period of the war developments when theat- ricals were not as flourishing as^they have been since. But in spite of its wonderful records the investigations of the Epoch managers show that less than one-fifth of the total population available' for picture patronage have seen the spectacle. Mr. Griffith's methods of presenting his big spectacles in a comprehensive way will be carried over to the picture theaters. The special orchestral score which was synchron- ized to every moment's action of the thrilling story will be given as it always has been given and the projection and embellishment of its salient features will be handled with the same care. Special engagements are now booking and full particu- lars of the new plan may be had from the Epoch Produc- ing Corporation, J. J. McCarthy, general manager, 807 Long- acre Building, New York City. GOLDWYN'S GLASS ROOF PAINTED BLACK. The Goldwyn Pictures Corporation is trying an experi- ment in its studio at Fort Lee, N. J., which may bring an important change in methods of motion picture photog- raphy where the weather does not permit of sunlight work the year round. The great glass roof of the Goldwyn studio has been painted black and all daylight excluded, making it unnecessary to cover the sets in which companies are work- ing. Natural light, the cameramen say. only interferes with proper artificial lighting, and since they cannot have proper natural lighting at all times they prefer to have it wholly shut out. MAKE IT READ "WITHOUT A BIG DEPOSIT." In the two-page advertisement of Jewel Productions, Inc., in this issue the word "big" was omitted by us in error from the statement "without a deposit" appearing in the first paragraph, This should read "without a big deposit." 84- THE MOVING PICTURE WORLD January 5, 191S' Sending Films to American Boys in France Y. M. C. A. Getting Ready to Plan Regular Film Circuits for Army Shows Overseas — Half Million Feet of Film Already on Way THERE are several organizations whose duty it is to guard the moral tone and to keep up the morale, or the fighting, soldierly spirit of the boys in Uncle Sam's uniform. Most people know already how these or- ganizations, the Fosdick Commission, the Y. M. C. A., the Knights of Columbus, etc., are going to work and what they are doing. Here in America they act more on their own special authority, but in France, where the commanding general is the sale authority, there will be even more perfect coordination and team work with the army organization. The part that moving pictures will play in the work of these subsidiary camp comfort activities will of course be large. Much has been said of the need and the value of film shows just back of the trenches and in the camps. The Eng- lish Army was the first to discover this and it has developed a smoothly working system by which regular film shows pass from one point to another along the whole British line. To study what has been accomplished and to report for the benefit of those who are organizing a like service to American troops, George Urie Stevenson has been in Europe for the Y. M. C. A. and has recently returned. Though he would not permit the World representative to see his report, he talked entertainingly and en- thusiastically of what he found in England and France in the way of film shows for soldiers and method of providing them. Mr. Stevenson was an ideal choice for this service. He has the personal quality to fit him to be of service, and the breadth and ripeness of his experience in the film business in Europe as well as in America will make his counsel most certainly worthwhile. • Both as a broad-minded patriot and able executive who knows the film business thoroughly he will be a credit to himself and to- the men with whom he works. It will interest his many friends in the trade to know that he volunteered for service with those who were t provide film shows to the army early last summer and connected himself with the War Camp Community Recrea- tion Commission, under Raymond B. Fosdick. He was de- tached to go to Europe for the Y. M. C. A. The authority of the Fosdick Commission does not extend beyond the borders of the United States. Before the war Mr. Stevenson was connected with the Trans-Atlantic Film Co., of London, English representatives of the Universal Film Manufacturing- Company of America, and has many friends among film men on the other side. When his duties with the Y. M. C. A. took him to England. Harry Spoor, of Essanay, Ltd., who has been active from the start in getting film to -the troops _at the front, gave him every" assistance. A conference was arranged between the Y. M. C. A. organizations of America, England, Canada, Australia and New Zealand and besides an assurance of co- operation was given Mr. Stevenson bv all the leading film distributors of England and by the British Expeditionary Forces Canteehs, the official organization under the aus- George U. Stevenson. pices of the British Government, that cares for the soldiers' film shows. How the Soldiers Came to Ask for Pictures. In the earlier stages of the war there was not a little confusion in handling material of all kinds. Somewhere in England a film show was shipped to somewhere. It landed at Plugstreet (Ploegstreete) and the Tommies found it. The good show wasn't going to waste, not while there was a man who could put it on — not at this time aitd place. A man was found and the show was enjoyed. A Chaplin film was included and it added punch to the next day's work of all the Tommies who were fortunate enough to see it. Such a demonstration of the value of that kind of enter- tainment couldn't be passed over and at once chaplains and commanders began to apply for more of the same kind. If ever an artist justified his usefulness Chaplin did be- hind the trenches in Flanders. Fate has given such a privilege to but few. To supply more Chaplin films with- out delay Harry -Spoor spent $2,000. It will be remembered that Chaplin was at that time with the Essanay firm. The need of films was then brought up to the cinema trade in general and William Jury, one of the representative London film men, was appointed on the Imperial Commis- sion, the English counterpart to our Fosdick Commission. Mr. Jury recommended the appointment of Harry Wood, then managing director of Gaumont, to head the new cine- matograph department. The War Office gave Mr. Wood the rank of lieutenant and attached him to the British Ex- peditionary Forces Canteens. Lieut. Wood enjoyed the con- fidence of the trade and in his accustomed businesslike way tackled the job of organizing a film service that would be worth while and based on sound principles. As a result hir show distributing organization has met all the problems of transportation and routing which, as can readily be imag- ined under the conditions, was a gigantic task. He now has several well-developed circuits working out of a half-dozen depots equipped to the last word with every essential to the intelligent handling of the situation. Problems of Equipment, Machines, Parts, Etc. Before the film can be used a complete installation has to be ready and preparation must be made to handle break- downs quickly and keep the outfit in working order. All the better class of second-hand machines in England were secured and to keep these on the job all the spare parts lying around were also gathered in. This must be taken into account by the Americans, as no spare parts can be bought, except through a stroke of luck, anywhere in Eu- rope. Foresight is needed to have spare parts in places where they can be reached on call. The shows travel on the interlocked system, which means that the group of sub- jects making up the show moves from point to point as a unit and must not be divided. Operators and Showmen. The representative of the Canteens at each station is the showman and looks out for all the local needs. He secures the operator, sees to the apparatus and the seats, if there are any, receives the show and sends it again on its way when the time comes. Most of the operators are enlisted men who volunteer for the work. Soldiers are often moved, and it is quite a job to keep in touch with men able to serve at the crank. In this connection we may add that mag- nificent work is being done by Paul Kimberly, managing director of Thanhouser, Ltd., in educating returned and disabled soldiers to be operators. It is practically necessary to have an electric generating outfit for every soldier theater. Oxy-acetylene tubes have been used for projection, but the Governments have such need for these that they are requisitioned as soon as they appear. Besides they are dangerous, as can be seen when we remember that the film itself is highly inflammable and the oxy-acetylene is not the best neighbor for it. Small generating sets such as the Delco are available and should be supplied. How the Films Are Chosen, The Canteens take the selections recommended by the British Board of Censors and have Sergeant Sydney Brock January 5, 1918 THE MOVING PICTURE WORLD 8:5 stationed in London and he makes choice of the pictures from the Censors' lists. These are sent to the bases and go out along the circuits in say seven-reel shows comprising largely comedy, virile, true-life stories that show life as it is, and with ews weeklies and educationals. Changes are semi-weekly and as close tabs are kept on the shows as though the business were on a commercial basis. The film is used up in the service, and that none of it may return and be in competition with the home trade it is destroyed when of no more use to the Canteens. The Problem Before America. Trade relationships and agreements between American companies and those abroad will of course have to be taken into account in sending film to entertain our troops. If this film gets on the European market it will of course spoil the American film trade there. This will be looked out for. The three big problems are getting the material, get- ting room in ships going to France and getting shows properly circuited to the troops. The British Canteens has offered the use of one of its depots for film distribution to American troops till an adequate service can be insti- tuted on America's own account. This will be a great ac- commodation and is appreciated on this side of the ocean. i Par amount JC hie fs Surrender Positions Abrams and Schulberg Will Devote Energies to Fostering Closer Relationship Between Branches of Industry. THE surrender of the executive supervision of the Para- mount Pictures Corporation by Hiram Abrams and B. P. Schulberg, respectively president and general manager of the distributing company, was announced last week. The transfer of this authority to others was accom- plished in order that the former Paramount executives may devote their efforts and time to the formation and fulfill- ment of a plan which it has long been the desire of the Famous Players-Lasky Corporation to put into existence and active practice. This plan consists or a closer relation- ship between exhibitors, producers and distributors, and a larger bond of common interest between these factors. The reason for the extended national tour undertaken some time ago by Messrs. Abrams and Schulberg, and but recently terminated, is now made apparent. The intercourse with exhibitors in all parts of the country for which this trip created the opportunity, and the knowledge of exhibiting conditions which the tour disclosed, were obviously intended as the foundations for the future efforts of Mr. Abrams and Mr. Schulberg in this direction. It may also be recalled that on several separate occasions within the past few months, Famous Players-Lasky execu- tives have emphasized the need and the desirability for a closer communion between producers and exhibitors. It is clearly indicated that through the instrumentality of these two, the Famous Players-Lasky Corporation purposes to plant and nurture a deeper and more genuine association with the exhibitor-body of America than has ever before existed between the theater owners and managers and the producers and distributors. The successors of Messrs. Abrams and Schulberg in the active management will probably be announced next week. WALLACE COBURN IN UNIVERSAL SERIAL. Wallace David Coburn, the "Cowboy Poet," has joined the Universal forces as an actor. He is widely known as the author of "Rhymes of a Round-Up Camp" and other Western stories in verse and prose and is intimately acquainted with the life he portrays. Mr. Coburn was born in Helena, Montana, and is of Scotch-Irish descent, being the son of Robert Coburn, one of the very earliest cattle pioneers of Montana and owner of the famous Circle C brand, whose ranches bordered the Assinaboine Sioux Indian Reservation. EDEL TO INTRODUCE DEPARTURE AT STRAND. Harold Edel, managing director of the Strand Theater, New York, has announced that another radical departure in photoplay programs will be introduced at that theater shortly, in the form of condensed versions of popular operas. These operas will be staged with all appropriate effects including special scenery, the first to be "Carmen," sung by Andre Enrico, the noted European tenor, as Don Jose, Anita Tagel as Carmen, Rosa Lind as Michaela and Auguste Bouillez as Escamillo. Producers of "Mot her" ' L Give Luncheon Feed Up the Reviewers After Showing the Picture — But It Was a Good Picture. ARTHUR H. SAWYER and Herbert Lubin, of General Enterprises, Inc., distributors of the George Loane Tucker production of "Mother," the six-part screen version of Eden Phillpotts' famous novel of the English moors, sponsored by McClure Pictures, Inc., gave a luncheon, Tuesday, December 19, at Rector's for representatives of the reviewing and advertising staffs of the moving picture pub- lications present at the trade showing on the same date. The guests, twenty-two in number, were seated at an oblong table in the Pompeiian Room, and the excellent impression made on them by the picture left them in a proper mood to enjoy the well-selected menu. At the finish of the meal the next hour was spent in singing, the selections ranging from "Over There" to "Dolly Gray," and some positively amazing discoveries were brought to light in the way of volume and tone possessed by several of the singers. The names of these favored mortals need not be mentioned, but two of them at least are capable of seeing the boast of Sir Andrew Aguecheek and going it several times better. It will be recalled that the slim knight claimed to have "the loudest voice of any man in Illyria." The chairs were occupied by Arthur H. Sawyer, Daniel M. Henderson, H. G. Kosch and Bert Ennis, of McClure Pic- tures; Frances Agnew, C. A. Kracht and J. P. P. Reddy, of the Sunday Telegraph; F. J. Beecroft and Peter Milne, of the Motion Picture News; Lawrence Reid and H. F. Ren- dall, of New York Review; David Arnold Balch, of the Dramatic Mirror; J. Goldie, Billboard; James Beecroft, Exhibitors' Herald; Charles W. Brennan, Motography; W. G. Beecroft, New York Star; Harry Ennis, Sidney Gold- smith, R. W. Baremore, Trade Review, and Randall M. White, James Milligan and Edward Weitzel, of the Moving Picture World. Theaters in Out of the Way Places Manager Wessling Finds Picture Houses Profitable in Small Towns. WS. WESSLING, Cincinnati branch manager for Pathe, visited the home office in New York last • week and brought with him some interesting news of the picture business in the mining districts in his terri- tory. According to official reports, Pathe's Cincinnati office has succeeded in booking subjects in places almost inac- cessible except by way of coal car accommodations. Mr. Wessling says that in many of the isolated sections covered by his office, picture theaters are found in towns that boast of but one other building, and that is used as a general store, also that at many of these little theaters as high as one dollar admissions are sometimes charged for feature shows. "When I first went over the Cincinnati territory," said Mr. Wessling, "I was amazed at the so-called picture thea- ters I found at different railway stops. Many of these mining town theaters consist of plain benches placed be- fore a rude screen. In some cases a sheet is hung loosely against the wall, but they all had plenty of people to draw from and now that they are getting a regular service from our office, they are all doing capacity business. "About the queerest theater I visited is located in Thur- mand, W. Va. Thurmand consists of the railroad station and a general store. The Southside theater is situated in the cellar of the general store and gets its name from the fact that it is entered from the south side of the building." In announcing the showing of Pathe subjects, the man- agement of the Southside theater, which is controlled by the coal company, distributes hand-bills printed in seven different languages. STRAND ORCHESTRA TO OPEN M. P. EXPOSITION. The opening musical program of the Motion Picture Ex- position to be held commencing February 2 at the Grand Central Palace by the National Association and the Ex- hibitors' League, will be given by the Strand Symphony Orchestra. In reply to an offer made by Harold Edel, Managing Director of the Strand, to contribute the Strand orchestra, F. H. Elliott, General Manager of the Exposition, last week accepted with thanks at the order of the Board of Direc- tors. The entire orchestra of fifty pieces will be used on this occasion and Mr. Edel has already begun work on an elaborate program. 86 THE MOVING PICTURE WORLD January 5, 1918 Exhibitor Has Found Strength Says Hodkinson Must Be Given Place in Industry or Will Wrest It By At- tempting Functions He Cannot Perform. WW. HODKINSON'S "Open Letter" to Stanley V. Mastbaum and the exhibitors of the country, in • which he outlined his idea of the "ultimate type of organization," is being issued in booklet form. In the same booklet, which is being mailed free on request, are contained the text of the Mastbaum telegram and also, what has not been published before, a statement of the Hodkinson principles as applied to the current questions, a list which includes deposits, booking methods, the reel tax, rental prices, stars and exchanges. Mr. Hodkinson's statement that he considered the "exhib- itor investment as the only considerable value in the in- dustry," and that the exhibitor was "the one indispensable element, where the larger profits should center" went even farther than many exhibitors themselves would choose to go. Asked for an interpretation of his statements, and par- ticularly of his reasons for announcing that he intended to give the exhibitors "who assume part of the functions of distribution a large share of the distribution profits of his organization," Mr. Hodkinson said: "My plan of partnership with the exhibitor, giving him the major share of the profits of distribution, was not worked out because I wanted to give anything away, but because the situation where the exhibitor is entitled to this share is al- ready here, and I am merely getting a little ahead of the procession by offering this share. The organization of ex- hibitor's distributing circuits, with an idea of crowding the producers off the map, the deadlock over the tax payments, all mean only one thing, and that is that the exhibitor has found his strength, and must be given his place in the in- dustry. If not, he will wreck it by trying to perform func- tions which he cannot perform, just as the producers are trying to perform the functions of distribution, which they are unfitted to perform because they are so close to their own product. "When I said that the aggregate exhibitor investment was the only real value in the industry, I mean just that. It has been upon the basis of that investment that the entire industry has been built, for that capital, that substantial return, has been the basis of all the financing which has been done for production and distribution. Star contracts are worthless. Contracts with executives are worthless. The studio investment is infinitesimal in proportion to the capital required to turn over the industry. "A man who is not connected with the financing of busi- ness may find it hard to understand, but the amount of value tied up in this business is colossal, and is actually out of proportion to the average return — if the capital in- vested were actual cash. But it is not cash — it is credit. That credit is furnished by the presence of the exhibitor, who by merely being on the job guarantees that the money will ultimately come back from good pictures. "The exhibitor has never had any returns on that credit, the capital of the business. I propose that he shall have a return for his part in furnishing the credit on which the business is built. That credit need not be invested capital — credit does not require always an outlay of money. "There are other reasons for this plan of giving the ex- hibitor a large share of the distribution profits. The most stable elements in the industry are the big exhibitors. Those men have an investment which must be protected. They are today banding together because they see no other way in which to protect their investment. They are rushing in to upset a balance which is vital to the progress of trade, the balance between production and distribution. They must be protected from the harm which they would do them- selves. They are justified in their motive, but the pro- ducer must be supported as well as the exhibitor. My plan is to give the exhibitor his share of distribution profits while at the same time the producer is protected. "The producer, in the general scramble, got the first grip on distribution profits. It has doubtless been the saving of a great many trademarks in the business. But those profits do not belong to him. Protection does belong to him, and he must have it, but distribution profits outside of the exchangeman's belong to the exhibitor, who fur- nishes the credit which backs the great turnover of capital necessary to distribute pictures. Producer protection will never be found permanently in slicing off big distribution profits. My plan is so to rearrange the interests in the business as to give the producer the assured market which will support his good pictures, and the exhibitor the ser- vice of good pictures for which he pays. The distribution profits, earned not in the picture business at all, but merely by the credit and capital which the exhibitor furnishes, must go where they belong — and that is to the exhibitor." Jeanie Macpherson WITH the advent of big stars and the tremendous cost of production of present day feature photoplays great importance is placed upon the scenario. A young writer whose works have attracted considerable at- tention is Jeanie Macpherson, who is under exclusive con- tract with Artcraft and has contributed the stories for some of the biggest productions released by that organization. Miss Macpherson is a brilliant example of what brains and concentration can do. In three years she has written twenty-four scenarios, either original or adapted from a story or play. She was responsible for "The Little American," in which Mary Pickford scored a great success, and "Joan the Woman" and "The Woman God Forgot," the big Geral- dine Farrar spectacles produced by Cecil B. de Mille, and "The Devil's Stone," Miss Farrar's latest Artcraft release, was adapted by Miss Macpherson from the story by Beatrice de Mille and Leighton Os- mun. As an artistic work, "The Devil Stone" is considered by Mr. de Mille one of the best pictures he has ever made. At the present time Miss Macpherson is completing the script on "The Whispering Cho- rus" adapted from the book by Perley Poore Sheehan, which is to be the basis of a super-production by Mr. de Mille. The famous director is exceedingly enthusi- astic over this latest subject, and is devoting considerable attention- to the selection of the cast and the technical de- tails. That the public appreciates the work of Miss Macpher- son was evidenced when she visited New York recently, on a vacation, when she was besieged by interviewers for big metropolitan dailies, who paid glowing tributes to her ability in their columns. Jeanie Macpherson. LONG MEMORIAL STARTS LAWSUIT. That the piece of statuary of an angelic figure in bronze on the tombstone erected in Woodlawn Cemetery to the memory of Samuel Long, former president of the Kalem Film Company and one time director of the General Film Company, is an infringement of copyright is the charge made in an action on file in the United States District Court. Mr. Long died in July, 1915, and his widow had a monu- ment erected in his memory. An angelic figure in bronze formed an imposing superstructure on the monument, but Mrs. Minnie K. Young, widow of William Henry Young, al- leges that the design is an infringement of a similar figure which she caused to be superimposed on a monument erected on her husband's tombstone several years ago. Lozzari & Barton Co. and John Williams, Inc., are named as co-defendants in the unusual suit. GLADYS HULETTE IN "ANNEXING BILL." Gladys Hulette and Creighton Hale have started work under the direction of Albert Parker in their Pathe comedy hcadliner, "Annexing Bill," an adaptation from Edgar Franklyn's story that made a big hit when it was published in Munsey's Magazine. In the cast supporting the stars will be seen Marguerite Greene, Marc Smith, Helen Tracy, Saxon Kling and Frank Nelson. January 5, 1918 THE MOVING PICTURE WORLD 87 Important Happenings of the Past Year b Events of Interest Occurring in 1917 Arranged in Chronological Order — // Has a Busy Year, Thank You TAKEN all in all the year that has just slipped forever into the past — 1917 — has been a fairly strenuous period in the motion picture industry. Called upon almost at the outset to combat the ardent desire of the lawmakers of various states to tax its receipts or regulate its con- duct, those who have chosen motion pictures as a vocation have been continually at their wits ends to circumvent or, in a measure, mitigate such demands. Withal the child is fairly healthy and active and promises to weather the storm — the demands of war and disturbed financial condi- tions consequent thereto. During the year, it will be noticed, the dragon of official censorship was severely scotched whenever and wherever it raised its head. Sunday opening made some gains, though the failure of the Walker bill in New York was a disap- pointment. Funkhouser is still in the harness, but Breit- inger's head fell in the basket. Necessities of war, into which our country has been drawn, laid the heavy hand of taxation on the industry and has caused no little turmoil, but the disturbance will pass and the business prospects for the coming year will enable the motion picture to do its share toward winning the war in more than one way and to its everlasting credit. The record shows unusual activity on the part of the or- ganized exhibitors of the United States. The National As- sociation of the Motion Picture Industry has also been busy and its influence has been felt in every branch of the business". There have been remarkably few serious failures of mo- tion picture firms. A few weak organizations have sprung up and quickly disappeared. There seemed to be no par- ticular field for them. Death has taken a light toll this year, for which all may be thankful. The arrangement of events is by volume and the figures at the end of each paragraph indicate the page of the vol- ume on which story is printed. Jan Jan. Jan, Jan. Jan, Jan. Jan. Jan Jan. Jan. Jan. Jan. Jan Jan Jan Jan Jan Jan Jan Jan Jan. Jan Jan Jan Jan Jan Jan Jan Jan Jan Jan Jan, Jan Jan. Jan. Jan. Jan Company Makes VOLUME XXXI. 1 — New Law Allows Shipping of Films by Mall. 203. 1 — Bible Film Company Organized. SO. 1774. 2 — Famous Players-Lasky Increase Capitalization. 3-16. 2 — N. A. M. P. I. Organize Defense Against Sunday Closing Law. 345, lib.!, 1741), 1753, 17.-.1. 2 — Death of John Edward Moore. 00. 3 — North Carolina Branch of Exhibitors' League In Convention. 53. 3 — N. A. M. P. I. Begins Organizing West Coast Division. 52. 3 — Sam Trigger Re-elected President Manhattan Local. 53. 3 — Metro-Colonial Studio Destroyed by Fire. 351. 3 — Intermountain Managers Organize. 54. 3 — Canadian Exhibitors' League Proposed. 54. 4 — E. I. S. Company Enters Producing Field. 110. 5 — Manhattan Exhibitors' League Protests Against Deposit System. '0t. 6— J. Warren Kerrigan Announces Own Company. 210. ■ 8 — Max Linder Finishes First Comedy for Essanay. 211. • — President Hutchinson of American Film Company Changes in Forces. 212, 530. 9 — Mae Murray Marries Jay O'Brien. 212. 1) — New Company for Rhea Mitchell. 215. 10 — Gaumont in London Appointed Britain Representative of World Film. 221. 11-D : W. Griffith Heads Motion Picture Art League of N. A. M. ". 1. Ooo, oul. 11 — California Exhibitors Organize. 607. . 11— Dixie Company Enters Producing Field. 253. . 12 — Metro Re-elects Officers. 504. - 14 — Pathe and International Join Forces. 202. 15— -J. L. Breltinger Resigns as Chairman Pennsylvania Censor Board. 346. • 1»— Joseph R. Darling, Fox Foreign Representative. Returns. 347. . 15 — Mastbaum in Million-Dollar Theater Deal. 350. 15 — Benjamin Chapin Announces "Lincoln Cycle." 351 10 — George Loane Tucker Comes to New York. 353. 16— Matt B. Snyder Dies. 1G— Andrew J. Cobe Forms Ultra Pictures Corporation. 353. 1' — O. T. Crawford, St. Louis Pioneer. Dies. S57. li — New York Exhibitors' Local Gives Dinner. 6G8. intr Ind ' ana Exhlbitors in Important Convention. 6G0, 1752 1006 l 2t> -00 aramOUnt Ensages " Fatty " Arbuckle, to Commence March 20— J. C. Graham Joins Famous Players-Lasky. 501, 1106. 21— Explorers Edward A. Salisbury and Rex Beach Return with films. 502. Jan. 22— Maritime Exhibitors Protest Deposit System. 505. Jan. 22 — Henry J. Brock Forms Enlightenment Photoplay Company. 510, 607. Jan. 23 — National Drama Corporation Begins Suit to Protect State Rights. 533. Jan. 23 — Willis Wood Theater, Kansas City, Damaged by Fire. 533. Jan. 24 — Douglas Fairbanks Retires from Triangle. 537. Jan. 24 — Riley B. Chamberlain Dies. Jan. 24 — Canadian National Features Organized. 538. Jan. 25 — Schwartz Films Incorporated in Chicago. 554. Jan. 2G — Idaho Exhibitors Begin Organizing. 668. Jan. 27 — Famous Players-Lasky Invades South America. 674. Jan. 20 — New York State Exhibitors Meet at Albany. 825. Jan. 2!i — Sunday Closing Issue in Illinois, Texas and New York. 827, 1740. Jan. 30— Film Club of Boston Hold Ball. 1203. Jan. 30 — Benjamin B. Hampton Discusses Proposed Taxation. 828, 1543. Feb. 1— New Jersey Exhibitors' Ball Takes Place. 507. Feb. 1 — Mutual Secures Charles Frohman Stars and Plays; Empire Ail-Star formed ; Production Commenced. 504. Feb. 1 — California Exhibitors Elect Officers. 848. Feb. 1 — Maryland Effects Permanent Organization. 848. Feb. 2 — Ontario Picture Men Organize. 840. Feb. 2 — Chicago Exhibitors Elect Officers. 004. Feb. 3 — Grace Cunard Marries Joe Moore. 854. Feb. 3 — La Salle Film Company Organizes. 858. Feb. 3 — Hemment Brings African Hunt Pictures to United States. 860. Feb. 3 — Rocky Mountain Screen Club Ball. 1165. Feb. 3 — Unicorn Film Service Reorganized. 864. Feb. 6 — Buffalo's Second Annual Ball a Success. 990. Feb. G — Douglas Fairbanks Signs with Artcraft 1166. Feb. 7 — Censorship Fight in West Virginia. 992. Feb. 7 — Indianapolis Exhibitors Hold Elections. 993. Feb. 7. — Benjamin Schulberg Becomes General Manager of Paramount. 1196. Feb. 7— Victory for Chicago Local 110, I. A. T. S. E. 1011. Feb. 8 — St. Louis Operators Give Dance. 1338. Feb. 8— Williamson Brothers Announce Own Manufacturing Company. Feb. 8— Prlzma, Inc., Given Color Photography Demonstration. 1201. Feb. 9 — Leonce Perret, French Director, Arrives in the United States. Feb. 1(1 — Mary Garden Signs with Goldwyn. 1016. Feb. 12 — Charles O. Bauman Retires from the New York M. P. Com- pany. 1020. Feb. 12 — More Harmful Censorship Threatens Missouri. 1022. Feb. 12 — Joseph Farnham Becomes General Manager of Frohman Amusement Corporation. 102S. Feb. 13 — Jacksonville Holds Screen Club Ball. 1366. Feb. 13 — Wheeler Committee Hearings Concerning Reasons for Taxing Film Industry Brings Forth Various Manufacturers' Ideas on Stand. 1162, 1332, 1333, 1334, 1754, 1932, 1934, 2075. Feb. 14 — Clean Picture and Play League Holds First Meeting. 1356. Feb. 11 — Edward Warren Starts Warren Film Productions. 1197. Feb. 14— New York F. I. L. M. Club Dines. 1338. Feb. 10— Proposed Indiana State Censorship Killed. 1357. Feb. 17 — Isadore Bernstein Announces Own Productions. 1363. Feb. IS — Marshall Farnum Dies in Arizona. 1782. Feb. 19 — Sunday Shows Permitted to Continue in Indiana. 1550. Feb. 20 — Raver Elected President of Art Drama Company. 1554. Feb. 21— Brooklyn Exhibitors Hold Successful Ball at Coney Island. li>48. Feb. 21 — Fred Mace Dies While in New York. 1550. Feb. 22— Famous Players Intrenches in Australia. 1638. Feb. 23— Hodkinson and Edison Form Alliance — Forum Films Announced. 1749. Feb. 28— Toronto Exhibitors Meet. 1933. Feb. 28 — George M. Cohan Finishes First Picture. 1794. Mar. 1 — Possibility of Film Commission for New York. 1907. Mar. 2 — F. H. Richardson, editor of the Projection Department of the Moving Picture World. Begins Country-Wide Tour. 1909 2079 Mar. 3 — Cameragraph Club Ball. 1008. Mar. 3 — Chicago Exhibitors Install Officers and Further Plans for Con- vention of Illinois Organization on April 6. 1932. Mar. 5 — Jaxon Film Corporation Enters Field. 1934. Mar. 6 — Kansas City Holds Screen Club Ball. 1935. Mar. G — New Express Rules Announced After Conference. 1928 Mar. 7— "Fatty" Arbuckle Finishes Transcontinental Publicity Trip. Mar - 7— Winfield Sheehan. Fox Official, Returns from Abroad. 1938 Mar. 8— G. W. Bradenburgh Indicted for "Duping"; Mutual Makes Charge. 2084. Mar. !>— Chicago Exposition Muddle; Ludwig Sehtndler Succeeds Louis Frank as Manager i Resolution Condemns Music Tax. 1938 Mar. !>— Movie Charity Ball for April 16 Organized. 1940. Mar. 9— Al. H - Woods Announces Formation of the A. H. Woods Motion Picture Company. 1044. Mar. 10— Tenth Anniversary Edition of the Moving Picture World 1429 to 1096. Mar 10— Film Men Dine at Hotel Astor as Guests of Chalmers Pub- lishing Company. 2109, 2110, 2111, 2112. Mar. 14 — Kansas Threatened with New Censor Bill. 2083 Mar. 14 — Manitoba Exhibitors Meet. 2082. Mar. 15 — Petition Against Massachusetts Censor Bill 2083 Mar. 15 — Quarterly Meeting of N. A. M. P. I. 2078 Mar 17— D W Griffith Severs All Relations with Triangle and Joins Artcraft. 20i4. Mar. 17— Wheeler Committee Reports, by C. L. Grant 2075 Mar. 17 — Associated M. P. Advertisers Aid Mobilization. 2114. VOLUME XXXII. Mar. 10 — Captain Jack Bonavita, Famous Animal Trainer Killed at Los Angeles. 82. Mar. 19— Washington Exhibitors Hold Big Convention at Seattle. 248 Mar. 21— Legislative Hearing on Sunday Bill at Albany 67 Mar. 22 — Carl Anderson Forms Paralta Films, Inc. 78 ?! ar ' -,7, — 9 regon Exhibitors' League Organized at Portland, Ore. 247 Mar. 23— Jersey Sunday Opening Bill Fails of Passage. 69 Mar - 24— Nevada H? tioa Picture Company's Studios at Pasadena. Cal . Destroyed by Fire. 256. 88 THE MOVING PICTURE WORLD January 5, 1918 Mar. 31 — William Brandt Elected President of the Brooklyn Exhibitors' Association. 243. Mar. 31 — George Kleine Moves His Offices to Chicago. 2o2. Apr 6— Meeting of Society of Motion Picture Engineers at Atlantic City, N. J. 404. Apr. 6 — Illinois Motion Picture Exhibitors League Convention at Chicago. 407. Apr. 7 — Announcement of Retirement of D. W. Griffith and Staff from Fine Arts Film Corporation. 78. Apr. 9 — Ben B. Hampton Resigns from the Presidency of the General Film Company. 601. Apr. 10 — Walker Bill, Legalizing Sunday Motion Picture Shows, Re- ported in New York State Legislature. 588. Apr. 10 — Motion Picture Directors' Association Give Dinner to Adolph Zukor at Hotel Astor. 601. Apr. 10 — Meeting of Oklahoma Exhibitors' League at Oklahoma City. Apr. li— Wheeler Tax Bill Introduced in the New York State Legisla- ture. 587. Apr 14 — Goldwyn Film Corporation Leases Universal Studio at Fort Lee, N. J. 252. Apr. 14 — Lasalida Films, Inc., Formed at Los Angeles. 2o9. Apr. 14 — Argus Laboratories Incorporated at New York. 200. Apr. 14 — New Board of Censors Formed in Kansas. 313. Apr. 14 — Synopsis of the Wheeler Motion Picture Tax Bill for New York State. 402. Apr. 15 — John C. Graham Starts on Trip to Spain for Paramount. G27. Apr. 19— Hearing on Wheeler Tax Bill at Albany, N. Y., Develops Strong Protest. 767. Apr. 20 — Michigan Legislature Adjourns without Passing Censorship Bill. 663. Apr. 21 — Ralph and John Ince Form the Ince Productions, Inc. 408. Apr. 22 — Rialto Theater, New York, Celebrates Its First Anniversary- 972. Apr. 23 — First National Exhibitors' Circuit Meets at Hotel Astor, New York, to Elect Officers. 781, 935. Apr. 23 — Kansas Motion Picture Exhibitors' League Holds Meeting at Hutchinson. 938. Apr. 24 — Pathe Exchange, Inc., Directors Hold Annual Meeting and Re-elect Officers. Apr. 26— St. Louis Motion Picture Exhibitors' League Celebrates Its Acceptance by the National Body with Big Dinner. 1124. Apr. 27 — Frank H. Hitchcock, Former United States Postmaster- General, Elected a Director of the Vitagraph Company. Apr. 28 — Formation of the First National Exhibitors' Circuit. 589. Apr. 28 — Universal Film Manufacturing Company Wins Suit Over Latham Loup Against Motion Picture Patents Company. 628. May 1 — Northwest Exhibitors' Corporation Holds Convention at Minne- apolis, Minn. 1126. May 1 — Bessie Barriscale Feature Company Organized. 1100. May 2 — Big Meeting of Brooklyn Exhibitors at Coney Island, at which William A. Brady Proposes That Makers of Indecent Pictures be Jailed. 1094. May 5 — Censorship and Sunday Closing Bills Killed in Florida Legis- lature. 772. May 8— New York State Senate Kills Walker Sunday Theater Bill. 1260. May 10 — Wheeler Film Tax Bill Killed by the State Legislature at Albany. 1259. May 10 — Testimonial Dinner Given to Lee A. Ochs at Healy's Restau- rant, New York. 1264. May 12 — Mayfair Film Corporation Formed by M. A. Schlesinger in New York. 972. May 12 — Delegation of Film Men Appear Before Senate Finance Com- mittee at Washington to Protest Against Proposed War Tax Bill. 1257. May 12 — Death of Charles L. Worthington of the Fox Film Corpora- tion. 974. May 12 — Varner Disagrees with Film Delegation and Presents New Views of War Tax to Senate Finance Committee. 1416. May 12 — Twilight Club Discusses Motion Picture Problem at BUt- more Dinner, New York. 1421. May 17 — Bill Hart Hits the Great White Trail ; Gets Warm Welcome in New York. 1422. May 19 — H. O. Davis Resigns as General Manager of Universal City. 1099. May 19 — Wholesome Film Company Incorporated with Headquarters at Chicago; to Make High-Class Subjects. 1102. May 24— Maine Exhibitors Organize at Portland. 1788. May 25 — Virginia Exhibitors Organize Branch of League. 1916. May 29 — Oregon Motion Picture Exhibitors' League Holds Convention at Portland. 1915. June 1 — Senate Finance Committee Reports War Tax Measure Exempt- ing All Picture Theaters Charging Less Than 25 cents Admis- sion. 1760. June 1 — Superlative Pictures Company Launched ; to Feature Lois Meridith and Irving Cummings. 1793. June 7 — Maine Exhibitors Meet at Bangor and Complete Organization. 1917. June 8 — United Motion Picture Industries Formed in San Francisco. 2145. June 12 — North Carolina Exhibitors Hold Successful Convention. 2101. June 30 — Thomas Ince Out of Triangle. 2071. VOLUME XXXIII. June 12 — Iowa Exhibitors Hold Convention. 68. June 12 — Moran Heads Michigan Exhibitors. 70. June 17 — Maryland Exhibitors Hold Special Meeting. 66. June 21 — National Association Holds Special Meeting. 66. June 21 — Clarence J. Cain Dies. 252. June 22 — Mack Sennett Withdraws from Triangle Film Corporation. 63. June 25 — Pennsylvania League Holds Sixth Convention. 218. June 30 — Charlie Chaplin Signs with First National Exhibitors' Cir- cuit 217. July 2 — President Wilson Calls on Motion Picture Industry to "Do Its Bit." 217. July 2 — Fox Film Corporation Representatives Hold Convention. 433 July 3 — Senate Gets General Revenue Bill. 432. July 4 — First Convention of M. P. E. I. of Louisiana at New Orleans. 624. July 4 — Strand Theater, New Orleans, Opens. 673. July 7 — New Clara Kimball Young Company Announced. 666. July 7 — Daylight Bill Held Up in Committee. 69. July 7 — John W. Noble Starts Independent Production. 100. July 7— United Motion Picture Industries of Northern California (ex- hibitors and exchangemen) Incorporates. 125. July 9 — Texas Exhibitors Hold Convention at Galveston. 622. July 11 — Committee Appointed by National Association Confers with Government Officials in Washington Regarding Methods of Co- operation. 614. July 14 — Seventh National Exposition Opens In Chicago. 615. July 14 — "Tax Pay" O'Connor Talks on Censorship. 215. July 14 — Thomas H. Ince Goes to Paramount-Artcraft. 216. July 14 — Sherman Pictures Corporation Formed. 258. July 14 — Mack Sennett Joins Paramount. 216. July 14 — British Columbia Exchange Managers' Protective Associa- tion Formed. 273. July 16 — Seventh National Convention of M. P. E. L. of A. held in Chicago, Also Meeting of N. A. M. P. I. and Society of Motion Picture Engineers. 772. July ]8 — Lee A. Ochs Re-elected President of the M. P. E. L. of A. 772. July 18— Reel Fellows Ball Held in Chicago. 942. July 19 — American Exhibitors' Association Formed 798. July 20— Illinois League Gives Big Banquet. 799. July 21— North Carolina Supreme Court Declares "Fluke" Tax Law Valid. 501. July 26 — Momand of Saginaw Issues Statement Declaring for A. E. A. 1054. July 28 — Frank E. Woods Joins Lasky Company as General Manager of Productions. 625. July 28— J. Stuart Blackton Arranged to Produce Independently and Release through Paramount. 630. July 28 — Piedmont Pictures Corporation Absorbs Hawk Film Com- pany. C59. July 28 — U. C. Theater Opens in Berkeley, Cal. 684. July 29 — New York Screen Club Holds First Reel. 915. Aug. 2 — Detroit Exhibitors Form Branch of A. E. A. 1195. Aug. 4 — Edward -' . McManus Joins Paramount as Serial Manager. 771. Aug. 6 — N. A. M. P. I. Holds Annual Meeting. 1052. Aug. 11 — President Grauman, of Milwaukee Exhibitors, Announces Wisconsin Exhibitors Will Join A. E. A. 916. Aug. 11 — President Brady of N. A. M. P. I. Appoints Committees to Aid National Govcnment. 918. Aug. 11— Beatrice ifici.elexa Heads Own Company. 961. Aug. 11 — Max Lini'er Returns to France. 1225. Aug. 14 — Associateo Theaters, Inc., Formed at Minneapolis. 1354. Aug. 14 — Trigger I i signs as President of Manhattan Local No. 1 of M. P. E. L. c- A. 1355. Aug. 16 — Lord Noi feline Speaks of Moving Pictures Part in War. 1359. Aug. 16 — Officials of A. .?, A. Meet in New York ; Open Offices in Times Building. 1353. Aug. 18 — C. J. Hubbbell, fathe Photographer, Returns from Three Years' Trip. 1066. Aug. 18 — Motion Picture Distributors' Board of Cleveland Chamber of Commerce Formed. 1101. Aug. 20 — H. B. Walthall Announces Formation of Own Company, Releasing through Paralta. 1544. Aug. 22 — State Rights Distributors, Inc.. Formed. 1547. Aug. 23 — Jaxon Film Company's Plant at Providence Badly Damaged by Fire. 1675. Aug. 25 — Arthur S. Kane Made General Manager of Selznick Enter- prises. 1192. Aug. 25 — Senate Finance Committee Reports on War Tax. 1196. Aug. 25 — Madam Petrova Forms Own Company. 1203. Aug. 25 — Alice Brady r orms Own Company. 1517. Aug. 25 and 26 — M. P. E. L. of A. Executive Committee Holds Meet- ing in New York. 1546. Aug. 27 — N. A. M. P. I. Re-elects President Brady and Refuses Recog- nition of A. E. A. 1546. Aug. 27 — N. A. M. P. I. and M. P. E. L. of A. Get Together and Agree to Go Fifty-flfty on Expositions, Balls, etc. 1665. Aug. 30— Virginia Motion Picture Exhibitors Hold Convention at Ocean View. 1667. Aug. 30 — Chester Beecroft Returns from Russia. 1672. Sept. 1 — Associated Theaters and Northwest Branch of National League Hold Meetings in Minneapolis. 1417. Sept. 1 — Composers' Society Takes Court Action Against Exhibitors in Copyright Controversy. 1355. Sept. 4— Michigan Exhibitors Hold Meeting at Detroit and Form State Association, Affiliated with A. E. A. 1824. Sept. 5 — F. I. L. M. Club Visits Manhattan Local No. 1 of M. P. E. L. of A. and Urge Co-operation. 1824. Sept. 5 — J. H. Genter, of J. H. Genter Company, at Newburgh, N. Y., Dies. 1833. Sept. 6 — Vitagraph Seeks Injunction Restraining Anita Stewart from Working for Louis B. Mayer. 1835. Sept. 7 — Henry J. Brock, President of Inter-Ocean Film Company, Killed in Automobile Accident. 1833. Sept. 8— William J. Watkins Dies. 1510. Sept. 8 and 9 — Maritime Province Exhibitors' League Holds Conven- tion at St. Johns, N. B. 1969. Sept. 10 — War Tax Bill Passes Senate. 1971. Sept. 12 — Producers' Protective Association Formed. 2013. Sept. 15 — A. E. A. Announces Fight on Deposit System. 1667. Sept. 15 — National Association Offers Films for Soldiers in- Foreign • Service. 1669. Sept, 15 — National Government Announces Embargo on Films for Export ; Must Obtain License. 1671. Sept 15— Joseph F. Lee's Buying Agency Formed. 1710. Sept. 22— Judge Altshuler (U. S. District Court, Chicago) Decides Funkhouser Had No Authority to Hold Up "The Spy." 1826. Sept. 22 — C. F. Zittel Appointed General Manager of International Film Service. 1827. Sept. 22 — National Distributing Organization Formed by First National Exhibitors' Circuit. 1833. Sept. 29 — Producers' Employment Bureau Formed by N. A. M. P. I. 1974. Sept. 29 — Perfection Pictures Announces Plans. J 927. VOLUME XXXIV. Oct. 6 — New Committees of N. A. M. P. I. Chosen ; Association Joins United States Chamber of Commerce. 57. Oct. 6 — American Exhibitors' Association Confers with American Society of Composers on Music Tax Question. 5S. Oct. 6 — Brooklyn League in Five Hours' Session Discusses Proposed Operators' Scale, the Music Tax and Other Questions. 59. Oct. 6 — Motion Picture Directors' Association Moves Into New York Quarters. 59. Oct. 6 — Paralta Plays, Inc., Severs Relations with Triangle Distributing Corporation. 60. Oct. 6 — Technicolor Has Its First Showing. 61. Oct — Alice Brady Leaves World Pictures Corporation and Goes to Select Pictures. 6L January 5, 1918 THE MOVING PICTURE WORLD Oct. 6 — Frederick L. Collins Concludes Arrangements Between Super Pictures Corporation and First National Exhibitors' Circuit for Distribution of Petrova Pictures through Latter Organization. 67. Oct. 6 — F. H. Richardson Visits Maritime Provinces. 75. Oct. 6 — Pathe Exchange, Inc., Acquires Russian Art Films. 79. Oct. 6— American Projection Society Holds Its First Banquet in the Green Room of Hotel McAlpln. 01. Oct. 6 — Ernest Shipman Opens New York Offices as Representative of Independent manufacturers. 91. Oct. 6 — Metro Productions Corporation Sells Foreign Rights to Its Productions to Ben Blumenthal, President of the Export and Import Film Company, Inc. 92. Oct. 6— Henry B. Walthall Announces Initial Production by His Own Company. 94. Oct. 6— St. Francis Theater at San Francisco Opens. 119. Oct. 6 — Portland, Ore., Operators Get New Scale. 120. Oct. 13— Henry B. Varner, Chairman Legislative Committee of the American Exhibitors" Association, Labors with Congressmen on the Question of Exempting Picture Houses from the War Tax. 211 Oct. 13 — Conferees of Senate and House of Representatives Favor Tax on Admission Tickets. 213. Oct. 13— Sunday Law Gets "Knockout" in Louisville. 214. Oct. 13— Famous Players-Lasky Buys Paragon Studio and Printing Plant at Fort Lee, N. J. 220. Oct. 13 — Charlie Chaplin to Build New Studio. 243. Oct. 20— Herbert Brenon Secures Injunction Restraining Export and Import Film Company, Inc., et al, from Using the Title "The lyranny of the Romanoffs," with Illdor, in Connection with the Release of the Photoplay Depicting Ivan the Terrible and Life .in Russia in the Sixteenth Century. 367. 0ct '^°T C i? rence L ' Yearsiey Becomes the Publicity Director for the First National Exhibitors' Circuit. 368. Oct. 20— N. S. Kaplan, President of the Russian Art Film Company Returns to Moscow. S69. »«"»*, 0ct JPZ? 1 ?* National Exhibitors' Circuit, Inc., Disposes of Foreign " ' 304 Chaplin Productions to William Vogel Productions, Inc. Oct. 25— Michigan Exhibitors Hold Meeting and Hear Tax Laws Ex- plained by Revenue Official and C. C. Pettijohn. 1000. S. n-~ Baltimore Exhibitors' League Holds Big Meeting. 510 Oct. -i— Officials of the Treasury and Internal Revenue Departments Tax° U 511 Governing Operation of the New Amusement ° ct - 27— Paul H. Cromelin Becomes President of Inter-Ocean Film Cor- poration : Succeeds Late Henry J. Brock. 544 P.. 7,L~ Memphis Theaters Open for Sunday Shows. 566. ?. -8— Maryland Exhibitors Hold Annual Convention at Baltimore 098 Nov. .-{—Motion Picture Exhibitors' League of New Jersey Hold Annuai th°e P E e nsu'in "Vetr ^ kte g-^ tetter HaI1 in Newark and Elect Officers for NOV b£S S arl„ e haftS! b KaSas Lea 6 E 76 e °' KaMM H ° W ADQUal NOV >irl F eat P ur C e tU a re Mo < n th. Pa 6-f7. lM " F °™<«"' Please One Six- N ° V b 3 ~C Ha 678 M ' CrandaI1 0pens Knickerbocker Theater, Washington. N ° v - 5~°- W- Griffith Returns from Trip Abroad. 680 Vih7 S ' Inhibitors' Booking Corporation Formed by William Oldknow and Frank Hall. 6.82. Nov. 3— J A Quinn. Los Angeles Exhibitor, Plans the Organization of a National Theater Circuit 70° "■6«uimuoh N , ov - 3— Producers' Protective Association, Inc., Formed. 714 no ;: ^ff H °^r'Kj5f s i c 3 a do e for one Year - 73 °- NOV E x^i , on ia S,m A pan B y rad |32 EleCted ^^ ° f the Moti ° n Pictu - NoV m 10— M ° tion Picture Theaters' Company of New England and the M ™. 5 r a n hU A ettS , BraI \ Ch - ot *•& -2 S-2>-^ &•&:*:• <£- -^ & ^ »g S g g| S °>? g| ^ • : • j: S ■ g g g S- S S S ^- ~^^ "The Devil Stone" Artcraft Presents Geraldine Farrar in an Exceptiona,.y Fine Piece of Artistry. Reviewed by Louis Reeves Harrison. ARTCRAFT'S latest subject, featuring Geraldine Farrar, entitled "The Devil Stone," is from an original story of the Breton coast by Beatrice DeMille and Leighton Osmun. Reduced to scenario form by Jeannie MaePherson and directed by Cecil DeMille, "The Devil Stone" starts with a flavor of romance and with the idea of representing an abstract idea by a symbol. The devil's stone is a magnificent emerald richly set in an ancient diadem. It is found by a fisher maiden on a rugged coast after a storm. Its history is most picturesquely associated in her mind with a fragment of story lore. It had been stolen by a Norse Queen from a Bishop whose convent her troops had looted, and she ordered him thrown over a cliff for concealing it. With his last breath he curses her, declaring that possession of the jewel shall become fatal to all who hold it until it is returned to the church. The fisher maiden, Mis3 Farrar, soon after attracts the atten- tion of the miserly owner of the fisheries, and his greed is so excited by a glimpse he is accorded of the emerald that he bends every effort to win the maid in marriage and succeeds. The miser, Tully Marshall, steals the diadem after marriage and plots to get rid of his wife by compromising her with a young man in whom she has taken a deep interest, a reacting plot, for it leads her straight to a great criminologist, Hobert Bosworth, who has no difficulty in locating the thief. The wife discovers her husband gloating over the jewel, recovers it and is attacked by him in a fit of insane rage. She kills him in self-defense, but she effectually conceals her crime and the weapon. She is eventually married to the man of her choice, but the criminologist makes it his' business to trace the author of the crime, and he refuses to believe that the Scene from "The Devil Stone" (Artcraft). husband was killed in self-defense. The girl on whom so much misfortune has been showered by the fatal stone asks leave to return the gem to its rightful owners before exposure is made and is accorded a month's time. She returns it to the church and comes back to pay the penalty with such good faith that she is believed, and her future made forever safe. Such is the composite story of romance, tragedy and de- tective skill which, though the content is of vague purpose, is admirably constructed in every detail, showing a very high quality of craftsmanship in its formation for the screen. Thoroughly as this work has been done, however, it is really of secondary value to the exceptional artistry of production. In settings, picture composition, photography and scientific work generally, this production marks a high point in screen visualization. It sets a standard in these respects which will be difficult to follow, so harmoniously grouped are all the ele- ments of success and production. Miss Farrar has at last given an Interpretation in accord with her accomplishments and experience as an artist, her operatic manners yielding gracefully to the more convincing naturalness of screen portraiture. Her eyes and their ex- pressive accessories are ever busy, revealing with great force and Intelligence the workings of her mind and heart, her attractive personality tremendously Intensified by her swift comprehension of the exactions of her role. She has a strong support, notably in Tully Marshall, never better since the days of 'Taid in Full," and Hobart Bosworth, as the criminologist; but she dominates the production by sheer strength of char- acter irrespective of her superior opportunity. The play proved a winner at the Rialto. where it was presented to a packed house in masterly fashion. "The' Pride ofl^ew York" War Picture That Will Make a Hit— Written By R. A. Walsh and With George Walsh as Hero It is a Most Satis- fying Melodrama. Reviewed by Hanford C. Judson. TO THE mind of this reviewer, "The Pride of New York," recent five-reel Fox picture written by R. A. Waish and with George Welsh in the hero's role, is the best war pic- ture yef. It is a melodrama and has. like most of its kind, a most improbable denouement, but the old truth Scene from "The Pride of New York" (Fox). in the background of the story carries a tremendous punch, because it is the truth. The big thing in the pic- ture is that these scenes and impressions of war conditions both in America and In France are pictured with artistic re- straint. The eye sees them on the screen, the mind knows them to be true and the heart Is made to fee] the depth of them. There is a kind of whole-hearted democracy In the picture that will play no little part In making it a decided popu- lar hit. It is a picture that will be welcome in any theater or church and will get a stirring ovation In the camps of soldiers. "The Pride ot.New York" Is Young Kelly, son of a builder, who is drafted, and the part is played by George Walsh, so everyone will know what kind of a lad the pride of New York is. The contrasting character Is a son of wealth, played by William Bailey. The girl, taken by Regina Quinn, finds out the yellow streak in this son of wealth and becomes a Red Cross nurse, goes to France, is captured by a German prince and has to be rescued bv Kelly, who has been promoted to be avia- tion captain. But this rough outline shows the picture on its weakest side; there are some other things. R. A. Walsh, the director, knows and shows how Uncle Sam sizes up a good soldier with no social backing and also a rich boob with a cap- tain's bars on— for a while. He shows how the American people are taking the war; how the Allied soldiers are taking it in France and how the Boches are taking it. He has some fine battle scenes and has a picture that is taking audiences with a rush. Studio Men Mary Garden's Xmas Guests. When Mary Garden discovered last week that the stage hands, electricians and other attaches of the Goldwyn stud lo at Fort Lee were taking up a collection to defray the ex- penses of a Christmas Eve party at the studio she sent for one of their number and inquired how much the party was to- cost. Told it had been figured at about $150 the star of "Thais" promptly drew a check for that amount and insi, ted that the studio employes be her guests. They said they d be glad to be. January 5, 1918 THE MOVING PICTURE WORLD 9i "Convict 993" Five-reel Pathe Play, Produced by Astra Film Corporation, Features Mrs. Castle in Bright Crook Drama. Reviewed by Robert C. McElravy. CONVICT 993" makes a strong bid for first honors in the entertaining series of Pathe Plays, with Irene Castle in the leading roles. It is a smoothly developed, fascinating detective story, with an unexpected denouement that gives observers a delightful thrill. Mrs. Castle also rises to her personal opportunities better in this number than in any of the others, achieving almost an emotiorjil appeal at times. Her development along this line is one thing that contributes greatly to the surprise at the close. The story opens with the prison experience of Roslyn Ayre, the girl portrayed by Mrs. Castle. She has none of the ear- marks of a woman crook, but the prison garb speaks for itself. She has the cell adjoining that of a real girl criminal, Neva Stokes. Roslyn declares her innocence to Neva, who accepts the story without believing it. thinking Roslyn is merely try- Scene from "Convict 993" (Pathe). ing to cover up her past mistakes by throwing the blame onto others. A thrill runs through the prison one morning, when the cell bars to Roslyn's place of confinement are found cut, and it becomes known that "Convict 993" has escaped. Neva, left behind, hates her former acquaintance for her good luck. The next scenes occur in the fine home in which Roslyn has established herself. She wears elaborate and expensive gowns and has formed the acquaintance of Rodney Travers, with whom she is in love. Neva Stokes, after her release from prison, trails Roslyn to her home and begins a system of black- mail. She threatens to expose the escaped criminal unless .Roslyn helps Neva and her crook friends in making a big haul at the reception she is about to give. Roslyn reluctantly consents, after meeting Dan Mallory, the head of the gang. Crooks are substituted for her retinue of servants, the guests arrive for the party and their gems are stolen in the night. Mallory makes a sudden agreement with Roslyn to double cross his gang and escape to America. The gang members get an inkling of this and hold up Mallory and Roslyn. At this crucial moment Roslyn plays her trump card, which reveals the fact that she has been from the first a member of the government secret service. Harry Benham appears as Travers, Helene Chadwick as Neva, Warner Oland as Dan Mallory and J. H. Gilmore as Bob Ainslee. The story was written by Wallace Clifton and di- rected by Wm. Parke. Two Christie Subjects "Thirty Days" and "Nearly a Papa" Entertaining Comedies Featuring Jay Belasco. Reviewed by Margaret I. MacDonald. "Thirty Days." THE theme of "Thirty Days" is not new; in fact, we have seen many comedies based on the same subject: yet this effort on the part of Al Christie and his company of players succeeds in pleasing. The comedy is clean and in- offensive, and has some original touches in the business. The story centers around a young man's love of his club, and the sad results of his failure to keep his promise to his wife when she decides to take a vacation. To avoid the dis- comfort of staying away from the club, according to promise, he! determines to bring the club to him, and so we find him with his chums in the midst of a game of cards on the approach of his wife's aunt and uncle from out of town. A scarlet fever placard placed outside the door not only saves them from unwelcome visitors but succeeds in getting them quar- antined and eventually lands them in jail for a term of thirty days. "Nearly a Papa." An amusing situation arises in the development of "Nearly a Papa." A young man during his vacation receives a tele- gram in which a misspelled word causes considerable trouble in the household. In place of being duly informed that his wife's sister and baby are arriving he is led to believe that "mister baby has arrived." Upon reaching home, after purchasing a number of toys on the way, he is greeted by an empty house in which he finds what he believes to be twins. The discovery that the children belong to two different parties leaves the young hopeful in a much-disappointed mood. Quite enter- taining. "Unknown 274" June Caprice as Friendless Orphanage Heroine Leads in Melodrama with Satisfying Sentimentality — Plot Is Well Made— Will Be Liked. Reviewed by Hanford C. Judson. THE story of "Unknown 274," a Pox five-reel picture in which June Caprice plays a poor raggedy orphan, beaten by the rough matron of the asylum, has freshness of interest and works up to an exciting struggle. It won many exclamations of approval among a fair-sized audience on Br'oad- way, at the Nemo theater. It is the kind of picture that many people like extremely well. There is a lack of breadth to June Caprice's acting at pres- ent, and she is so often cast as an orphan or other forlorn youngster who, by her kindliness and lovable personality, wins her way to good fortune, that it does take something from the value of this picture in the minds of a few who feel that they have seen some of it before. Even with this disadvantage the picture furnished good entertainment to the reviewer on account of the story and on account of the work of many of the "characters. There were several in the audience near the reviewer who seemed to give their warmest approval to the work of the pretty leading woman. June Caprice enters the picture as slavey at a country orphanage. We have seen her in the city, a motherless baby cared for by her father, a kindly musician. He is hurt and loses his memory of the past. The baby is brought to the country by a neighbor and later taken to the orphanage, where she is registered as "Unknown 274." In the next scene she has grown to be June Caprice, ill-treated drudge who makes friends of the children. A man and woman, New York crooks, come to the village and persuade her to run away and be their daughter. They intend to make use of her. She has her father's violin, and back in the city, they take her to the old musician to be taught. He has recovered, but fails to recognize her as his baby. Later the rich man she is set to decoy sees that something is wrong and truly falls in love with June. The crook, whom she calls father, gets jealous and says he wants her for himself. Here begins a struggle. The woman, the Scene from "Unknown 274" (Fox). crook's partner, calls on the rich man for help, and the door is broken down and the crook knocked sick. The girl escapes to her old friend the musician with the violin and is recog- nized. "Jealousy" Is Now "Madame Jealousy." The title for Pauline Frederick's next Paramount release, following "Mrs. Dane's Defense" has been enlarged. Hitherto, known as "Jealousy," it has achieved the dignity of having "Madame" added to it and is now known as "Madame Jeal- ousy." Eve Unsell, prolific scenario writer, made the scenario for "Madame Jealousy" from the script furnished by George V. Hobart, author of the allegory "Experience,'' who wrote the story especially for Paramount. "Madame Jealousy" is an- nounced as something new in pictures and is said to be one of the most elaborate productions in which Miss Frederick has appeared. 92 THE MOVING PICTURE WORLD January 5, 1918 "The High Sign" Herbert Rawlinson and "Brownie" Vernon Play Leading Roles in Romantic Universal Feature. Reviewed by Robert C. McElravy. THE HIGH SIGN" is a five-reel story of the romantic type, written by J. Grubb Alexander and Waldemar Young and directed by Elmer Clifton. It falls into that category of imaginative tales represented in fiction by Stevenson's "New Arabian Nights" and Anthony Hope's "Zenda" stories. It has zest and go from the beginning and leads up to a Scene from "The High Sign" (Universal). lively and satisfying climax. Herbert Rawlinson makes an interesting figure as the young college man "who palms himself off as a prince on the natives of Burgonia, or at least thinks he has has done so in his vivid dream. Mr. Rawlinson is easily one of the best looking men playing in pictures and works with a pleasant freedom from self-consciousness. "Brownie," or Agnes, Vernon, as the girl of mystery, makes an equally attractive feminine lead. Hayward Mack appears as the real Prince Arno and Edward Brown, after playing innumerable minor parts in former offerings, dons the royal purple and plays His Majesty, the King. He gives some good comedy touches to the part. As the story runs, Donald Bruce is expelled from college for participating in the activities of a secret society. His room-mate, a prince of Burgonia, has been summoned home after years of study in America. The prince is in love with a supposed American girl and induces Donald to go to Burgonia in his stead. Donald also loves a girl named Hulda Maroff. During the narrative it develops that the prince's favorite is in reality a princess, and Hulda is her first lady in waiting. Donald never, in fact, makes the trip to Burgonia, but he dreams that he does so, and this dream is worked up in an elaborate way, showing his arrival there, his reception by the citizens and the reigning monarch, the wedding ceremony and subsequent revolution. There are times when the action con- tains an amusing touch of burlesque, but it is toned down so that the dramatic moments get over with considerable strength. The settings and photography are excellent in this number and do much to make it appealing. Others in the cast are Nellie Allen. Marc Fenton. Frank MacQuarrie and Albert Mac- Quarrie. "The Struggle Everlasting" Florence Reed Gives Human Portrayal of Vampire Role in Seven-Part Morality Photoplay Written by Edwin Milton Royle — Produced by Harry Rapf. Reviewed by Edward Weitzel. HOGARTH'S "The Rake's Progress" and Balzac's "Splendors and Miseries of Courtesans" are the prototypes of Edwin Milton Royle's morality photoplay, "The Struggle Ever- lasting," produced by Harry Rapf, with Florence Reed as a symbolic character described as Body. The revival of the old morality "Everyman," about fifteen years ago, stimulated in- terest in this form of the drama and led to the writing of the two stage successes, "Everywoman" and "Experience." This method of pointing a moral, by reducing the passions to an elemental condition and then having them personified by the men and women of the cast, appealed to many minds, in spite of the fact that none of the metropolitan critics found even ordinary merit in either of the two plays. The screen also has essayed to forward the cause of virtue by the use of allegory, and its best efforts have met with a ready response. "The Struggle Everlasting" was written for the spoken stage. and the screen version is the work of Bennet Musson. James Kirkwood directed the production. Its theme is illicit love. Body, Mind and Soul are the three principal characters. Other persons in the play are Champion Pugilist, Banker, Musician, Actor, Worldly Wise, Wife, Frail Sister, and Slimy Thing. Shorn of its cloak of allegory, the story is a modern "Harlot's Progress." It follows the career of a beautiful young woman from the time she first gives herself to a college student to her death, and shows how she becomes the companion of four other men as her fancy or her cupidity dictates. The story is sordid, and is unrelieved by any touch of comedy, except when the prize fighter loses the championship and is finally reduced to tending bar. However, the author has taken his subject very seriously, and displays a respectable degree of merit in pre- paring it for the spectator. The subtitles are in the same vein and will assist in inculcating the picture's moral lesson. At the end, the author has Body listen to the good counsel of Soul; and she is fatally wounded while trying to rescue a white slave from her owner. There is every reason to suppose that "The Struggle Everlasting" will be acceptable to a large num- ber of screen patrons. The novel feature in connection with the Royle photoplay is the performance of Florence Reed as Body. Here is an imper- sonation of the vampire-woman that is human, and not a thing of unlovely body contortions, exaggerated facial makeup and bizarre gowns. The handling of the theme has permitted the actress to wear an unconventional costume as the mountain girl, but her indication of the nature of the woman she depicts, her method of conveying the thoughts and desires that animate her mind, is from within, and has the natural expression of life itself. Her revelation of the moods of Body seem entirely un- conscious, and through all the changes that experience gives she retains a womanliness that wins conviction for her sin- cerity when she turns her back on her old life. The method of her redemption is rather abrupt, but Florence Reed makes no unnecessary parade of this spiritual change. Her action is the usual one of falling on her knees, but the look on her face is that of a true Magadlene. The art of this actress is as fine as anything the screen has yet revealed. The production of "The Struggle Everlasting" contains several other impersonations of uncommon merit. Chief among them is the acting of Mind by Milton Sills. Then follow E. J. Ratcliffe as Banker, Irving Cummings as Soul, Wellington Plater as Champion Pugilist, Fred C. Jones as Musician, and Edwin N. Hoyt as Worldly Wise. A large share of the credit for the production goes to James Kirkwood for the skill shown in every department of his work. Both the exterior and interior scenes are thoroughly artistic, and the direction is never at fault. Lawrence Williams was the photographer. "Just a Woman" Seven-Part Screen Version of Eugene Walter's Powerful Drama Given Effective Presentation by Charlotte Walker and Her Support — Produced by S. & S. Photoplays. Reviewed by Edward Weitzel. A KNOWLEDGE of drama is always useful when fashioning a story either for the stage or the screen. Eugene Walter. the author of "Just a Woman, ' in a playwright who never fails to put good red blood into his characters and to see to it that the dramas he builds are constructed according to the rules of the art. The screen version of "Just a Woman," pro- Scene from "Just a Woman" (S. & S.). duced by S. & S. Photoplays and directed by Julius Steger, retains the strength of theme of the original and. in the main, tells the story with equal power. At times too deliberate action is permitted to interfere with the developmen of events: but the sincerity of the story and the fineness of its principal character outweigh every other consideration. Where so much merit is to be found, a few minor defects of direction need not be allowed to count against the picture. The theme of "Just a Woman" is human and sympathetic. January 5, 1918 THE MOVING PICTURE WOULD 93 The wife o£ a mill worker, who fought to save her husband from the drink habit, makes a more determined fight when prosperity brings another woman into the man's life and he consents to have his wife trapped in a compromising position that he may divorce her and marry again. The attitude of Anna, Jim Ward's wife, is explained in one speech when she meets her rival: "You're only part of Jim's spree; when it's over he'll come back to his family." The faithful woman does not think of her own happiness until the 'divorce is granted and the judge tells her that she must give her boy to his father. Her rebellion takes an entirely unexpected form. Standing up in the courtroom she denies Ward is his father, and defies the law to take the child from her. Anna's struggle is rewarded at last. Jim comes back to her, just as she had hoped and fought tor, and the closing scenes show the father and mother proudly looking on as their son goes marching past on his way "over there." In its present form the finish is too long, but the director will quite likely apply the proper remedy. The atmosphere of the story is correct throughout. Many of the exteriors were taken in Pittsburgh, and the drab existence of the workers in the mills is reproduced with striking fidelity. The acting is highly commendable. Charlotte Walker portrays the spirit of Anna Ward with understanding and skill. A habit of lifting her chin too high prevents her from always screening to the best advantage, but greater experience will overcome this fault. Lee Baker is satisfactory to a marked degree as Jim Ward, and more than average good impersonations are contributed by Edwin Stanley, Forrest Robertson, Cornish Beck, Henry Carvel, Charles Kraus, Paul Perez, and Anna Williams. "Diamonds and Pearls" Kitty Gordon in Five-Part World Photoplay Wears Stun- ning Frocks and Acts the Role of a Woman Who Marries for Money and Learns Her Lesson. Reviewed by Edward Weitzel. KITTY GORDON, the English actress whose husband is the Hon. Captain H. H. Beresford and who is known as one of the best-dressed women on the stage or the screen, is the star of "Diamonds and Pearls," a five-part World photo- play, directed by George Archainbaud. The story has for its heroine a woman who marries for money and narrowly escapes wrecking her life in consequence. The daughter of a proud but impoverished Southern colonel, Violetta D'Arcy, throws over Jack Harrington because she believes he is poor and marries Robert Van Ellstrom, a man of wealth, who can purchase the jewels she craves. Although given a generous allowance, Violetta loses so heavily at bridge that she is forced to secretly pawn her sister- in-law's necklace. Being still pressed for money, she accepts a check from young Harrington's father, in return for an introduction into society for himself and wife. Later on he attempts to take advantage of the transaction, but Violetta's husband appears on the scene and the two men come to blows. Young Harrington, who is known to Violetta as Jack Rand, also becomes involved. His father tries to shoot Van Ellstrom, wounds his own son and, thinking he has killed him. puts a bullet through his own heart. Fearing the consequences of her folly Violetta is afraid to face her husband, but he goes to her and forgives her, when he realizes that she is repentant and has learned to love him. The material in this picture is Scene from "Diamonds and Pearls" (World). of good dramatic quality but it could have been more expertly put together. However, it gives Kitty Gordon a fair acting- role and allows her to wear a number of stunning frocks. She meets the requirements of the part with considerable suc- cess and looks it remarkably well for a woman who is the mother of a sixteen-year-old daughter. The supporting com- pany is made up of such well-known actors as Milton Sills, who plays Van Ellstrom; Curtis Cooksey. the Jack Harring- ton, and George MacQuarrie. as Jack's father. "Love Letters" Dorothy Dalton and Excellent Direction Make An Interest- ing Picture — Story by Shannon Fife Is Ably Handled, But Only Slightly Convincing. Reviewed by Hanford C. Judson. THE latest Paramount picture by the Thomas Inee company, "Love Letters," will be considered good entertainment by audiences in most theaters. Dorothy Dalton, ably support- ed by a cast of Thomas Ince players and helped by the best kind of direction, puts enough convincing human emotion into the Jcene from "Love Letters ount). story's situations — sometimes not strongly convincing — to veil them in plausibility. The plot has unbroken continuity and the action carries speedily to incidents giving sustained excitement that truly grips the spectator. The picture's shortcoming is that it is too shallow to touch the deeper human emotions. There are times when most of us prefer to have our entertain- ment neglect to delve too earnestly into our feelings. The villain of the plot is one of those teachers of erotic East- ern philosophies, enacted by William Conklin. He has a bad reputation, is now giving a course of lectures and Dorothy is one of his ardent admirers. Her paid companion, taken by Dorcas Mathews, has loved and been wronged by this teacher. Dorothy has been writing fervent letters to him couched in the stock terms of his free love teachings. He wants her to travel with him without marriage, but Dorcas spoils the plan by showing' him up to Dorothy, who marries one of her other lovers. A year later the villain tries to get her back by threats. She comes to his house to get the letters, he tries to force her and she strikes him down with an Oriental sword. She leaves without the letters and the police find him dead. Next night — and this is the big scene — she goes back for them. Her husband and the police come to make a search and she is in the room. The action here is full of suspense. One of the picture's qualities is its beautiful photography. "Her Sister" Five-Part Empire Production for Mutual Program Features Olive Tell — Based on Frohman Play. Reviewed by Margaret I. MacDonald. IN THE five-part Empire drama appearing for release on the Mutual program Dec. 24, Olive Tell lives up to her for- mer record of doing things well. The picture entitled "Her Sister" was directed by John B. O'Brien in an adaptation of the Charles Frohman play of the same name, and contains situations of real dramatic excellence. In the cast with Olive Tell are Eileen Dennes, David Powell, Anita Rothe, Mrs. Clarat- Bracy, Harriet Thompson, Martha Dean, Eileen Errol, Madeline Meridith, Charles Edwards, Sidney Blair. Herbert Evans and Eleanor Seybolt. The story which treats of the fortunes of two sisters who have been forced by circumstances to grasp the best opportu- nity that presented itself for earning a living-. The elder sis- ter enters the establishment of a fortune teller acting in the capacity of Isis, and at the same time strives to restrain her more wayward sister from certain associations of a harmful character. A pretty love story of which the elder sister is one of the central figures leads to a dramatic climax in which she attempts to sacrifice her own happiness to shield her sister. The final working out of the story lifts the finger of suspicion from both sisters arid succeeds in placing the hand of justice on the right party. The production is artistic and appealing, and while same may not like the fortune telling element, its presence detracts little if any from the charm of the picture. 94 THE MOVING PICTURE WORLD January 5, 1918 'Taming Target Center' Polly Mbran in a Paramount-Max Sennett Comedy Wins Whole Audience — Breath-Catching Leap on Horse- back Over Canyon One Feat. Reviewed by Hanford C. Judson. THE effective entrance of Sheriff Polly Moran into that Bedlam, Target Center, in the Paramount-Max Sennett comedy, "Taming- Target Center," is a bit of able stage- craft. Things had been getting lively between the dance hall and the mission church across the way, and the old sheriff, Scene from "Taming Target Center." cross-eyed Ben Turpin, had much more than his hands full. The bad man, Tom Kennedy, and his right hand prairie flower, Gonda Durand, were running Cross-Eyed Ben off the claim. Then Ben's girl Polly arrives on the whirlwind of a mustang. She and the horse try to clean up the hotel. It is a chase upstairs and downstairs, canter and trot, till she gets the bunch outside where she ropes the lot at once and drags them off to the jail. Cross-eyed Ben has a streak of yellow in him. There's a cry for help and Polly makes a dash over the prairie to save a drowning child after a death-defying leap over the canyon. When she comes back, the bad bunch is out of the coop and she finds Ben in a room with Gonda. Ben didn't know of Gonda's presence — he was afraid of her. Polly's "mother told her" that she could expect just that so she flounces over to the minister's. There are two adjoining rooms at the mission and she and the minister dress before the lighted shades and those outside have another scandal started. It is a film to count on as a laugh maker. It's a speedy pic- ture in which thrill is followed by burlesque comic situation and the whole is delightful entertainment. "When Men Are Tempted" Vitagraph Blue Ribbon Feature Written by Frederick Up- ham Adams a Loosely Constructed Story Featuring Mary Anderson. Reviewed by Edward Weitzel. BASQUES with muttonleg sleeves and full skirts that literally swept the earth are worn by Mary Anderson in "When Men Are Tempted," a five-part Vitagraph Blue Ribbon Feature, written by Frederick Upham Adams and di- rected by William Wolbert. The author has not shown any unusual ability in selecting his theme or in piecing it together. His hero is a poor young chap named John Burt, who is in love with Jessie Gordon, and has for a rival Arthur Morris, a wealthy young blackguard. Morris tries to compromise Jessie, and is given a thrashing by Burt. The young million- aire manages to draw a revolver, and there is another strug- gle over the weapon, which is discharged, Morris receiving the bullet. Fearing that he has killed Morris, young Burt leaves town in a great hurry, goes West, locates a mine, becomes a rich man and sends a friend of his back East to find out what has become of the man he shot and the girl he left behind him. Morris has recovered and has Jessie's father in his power through tricking him in a railroad deal. His chances of forcing the girl to marry him look promising, but Burt puts in an appearance and turns the financial tables on Morris, and Jessie and John have the pleasure of signing their names to a marriage license. An unexplained point is why Burt never tried to communicate with Jessie until after he struck it rich. He knew he could trust her. Ineffectual is the word to apply to this picture. It is intelligently acted by Mary Anderson, Alfred Whitman, R. Bradbury, Otto Lederer and S. E. Jennings. "Mother" Six-Part Photoplay from Eden Phillpotts' Novel of the English Moors Contains Rare Character Studies, Scenes of Rugged Beauty and the Truthful Acting of Elizabeth Risdon — McClure Picture. Reviewed by Edward Weitzel. GHORGE LOANE TUCKER has done the screen a service by making a moving picture version of Eden Phillpotts' fine novel of the English moors, "The Mother of the Man." Under the title of "Mother," with Elizabeth Risdon in the lead- ing role, the story has been produced on its native heath and the rugged beauty of the region and the quaint character types transferred to the screen. The skill shown in the acting and the directing has brought the happiest results, the only opening for criticism being found in the endeavor to retain all the characters and incidents of the novel. A little carefuly study will suggest the necessary cuts. Mother love is the theme of Phillpotts' work. The novelist has treated his subject with the sincerity, depth of feling and perfect understanding of the people among whom he has laid his story that marks all his writings. Not since R. D. Black- more has any novelist possessed the same familiarity with, and love of, the "Lorna Doone" country. And the story he tells will grip the heart of every true man and woman. All that Abraham Lincoln said he owed to his mother is shown in the love and devotion of Avisa Pomeroy for her son Ives. The young chap is wild, easily offended and prone to evil. Only the keen insight of a mother saves him. Knowing her days are numbered, Avisa hides her own pain and bends every energy to setting Ives' feet in the right path. When he loses the girl he thinks is the proper mate for him and takes to drinking and poaching his mother gives him over to the law, well knowing that to shield him would only be to strengthen Ives in his yielding to further temptation. After Ives gets out of jail he vows he will never return home, but his mother lays his supper and places a light in the window every night, and one morning she is rewarded by finding him shaving himself before the kitchen mirror. The hardest trial comes when the woman who jilted Ives decides to leave her husband and tries to persuade Ives to go with her. Avisa has need of all her mother wit and determination to prevent this. She succeeds in keeping Ives away from Jill Bolt by showing the young fellow that Jill does not really love him. This is Avisa's last act for her boy. Her heart can no longer stand the strain. She dies in Ives' arms. After her death he turns to the woman that Avisa had hoped would be her son's wife. To realize the character of Avisa Pome'roy in all its beauty of devotion, kindly humor and shrewd insight into life is an achievement of the highest merit. Elizabeth Risdon accom- plishes this with a perfection that is the more remarkable from Scene from "Mother" (McClure). the fact that the woman she portrays is nearly twice her own age. Her makeup is a triumph, and the touches of character she imparts to Avisa make her a living and lovable reality. A list of the English actors who created the other parts has not reached this country, but mention must be made of the fault- less work of the Ives of the cast. With but few exceptions, the remaining characters smack most convincingly of the soil. Harold Lockwood Returns from Florida. Harold Lockwood, Metro player, accompanied by members of his company, have returned to New York from Florida, where the fox hunt, the bathing beach episode and a number of other scenes in "Broadway Bill" were photographed under the direction of Fred J. Balshofer. The company had some exciting experiences on the way to the South due to two train wrecks which delayed their arrival at their destination by fifteen hours. No one was injured. January 5, 1918 THE MOVING PICTURE WORLD 95 On the Triangle Program "The Gown of Destiny," Novel Five-part Photoplay from Story by Earl Derr Biggers, and "Betty Takes a Hand," Triangle Prize Story Featuring Olive Thomas. Reviewed by Edward Weitzel. "The Gown of Desliny." EARL DERR BIGGERS has written a war story from a new angle, and Lynn F. Reynolds has made it into a novel photoplay. "The Gown of Destiny" is a decided addition to the Triangle program. The picture starts in the shop of a Fifth avenue modiste, and the hero is Andre Leriche, head designer for Madame Felice. Andre is an undersized but loyal young Frenchman, who is fired with a desire to serve his coun- try at the front, but is. rejected by the French consul. His heart is broken; but he dreams one night of a new creation in smart frocks and hastens to transfer the design to paper. The gown is fashioned by Madame's workwoman and is the means of winning an erring husband back to his wife. It is Scene from "The Gown of Destiny" (Triangle). then sent to a niece in the West and helps to make a young English slacker fall in love with her, and of sending the young fellow back home to do his duty. The girl goes to her future father-in-law's home to await her lover's return. In the meantime the father of Andre Leriche. who is the mayor of a town near the firing line, is sure that his boy is doing his duty wherever he is. Shortly after, the town is taken by the Germans and the mayor is condemned to be shot, but a detachment of British soldiers, led by the young Englishman, drives out the invaders and save the French designer's father and the town. Thus it happens that the gown created by Andre plays an important and patriotic service. Lynn F. Reynolds has directed "The Gown of Destiny" with excellent results. There are several effective battle scenes, and the atmesphere of the French town is correctly main- tained. The picture is also expertly acted. Herrera Tejedde fits the character of Andre at all points, and Alma Rubens and Allan Sears make an interesting pair of lovers. The other members of the cast are Lillian West, J. Barney Sherry, Pietro Buzzi, Frederick Vroom, Dorothy Marshall. Kathleen Emerson and Bliss Chevalier. "Betty Takes a Hand." Katherine Kavanaugh is the author of "Betty Takes a Hand," a five-part Triangle that won the second prize in the late contest. The scenario is the work of Jack Cunningham, and Jack Dillon directed the production. Olive Thomas is the featured player. The opening is cleverly conceived. Two miners who are partners in a claim separate, one buying the other out. Peter Marshall, the man who parted with his half of the mine, never becomes rich and always believes that he was cheated in the deal. James Bartlett, the other partner, amasses a fortune. Later in life Marshall's daughter and Bart- lett's son meet and fall in love. The girl's father will not hear to the match, and the manner in which his objections are over- come forms the greater part of the action. Most of the scenes in which Olive Thomas appears are played in a comedy vein, some of them approaching farce. As Betty Marshall she is supposed to have been left in charge of a fine house belonging to the widow of the man who engineered the deal. Knowing that her father is in need of money Betty hits upon the idea used in "All the Comforts of Home," and hangs out a sign, "Room and Board." The house is soon filled with boarders, who are glad to pay fancy prices for such fine ac- commodations. When the mistress of the house and her daughter return from a trip to Panama they walk in on a tableful of strange people, and drive them into the street. Young Bartlett is one of the boarders, and greatly disappoints the young lady of the house by marrying Betty. The picture is amusing, and Olive Thomas makes up in at- tractiveness what she lacks in acting ability. Satisfactory im- personations are given by George Hernandez, Frederick Vroom, Charles Gunn, Bliss Chevalier, Mary Warren. Margaret Cul- lington, Graham Pette, June De Lisle and Anna Dodge. "Sins of Ambition" Seven-Part Ivan Photoplay Is Well Acted but Is Overbur- dened with Motives— Wilfred Lucas, Barbara Castleton and Leah Baird the Leading Players. Reviewed by Edward Weitzel. THE author of "Sins of Ambition." a seven-part Ivan photo- play, has selected an excellent theme, but has weakened his story by the introduction of too many motives. The central idea is strong enough to carry the burden of the action, and the rapidity with which the story skips from one motive to another prevents any single situation getting its full value. Generosity is an estimable quality in many cases, but there is .such a thing as giving the spectator too much plot for his "peace of mind. Another condition that detracts from the strength of the story is in making the leading female character an abnormal type. A mother who tells her husband that he is not the father of her child and utters the lie for the purpose of furthering her ambition to resume her profession as an actress reaches a depth of depravity that puts her outside the pale of common humanity. Laurette Maxwell, in "Sins of Ambition," is credited with being capable of such an unnatural act, and the spectator is asked to be in sympathy with her when she repents and her daughter and husband forgive her and take her back into their hearts. The thing that brings this about is the killing by her daughter of the man who persuaded Mrs. Maxwell to leave her husband. The young girl tries to save her mother by encourag- ing the attentions of the villain. The man becomes too insistent and Ruth Maxwell is forced to shoot him in defence of her honor. The mother's testimony frees Ruth. Aside from the main motive there, is a fight with an ice trust, of which the villain is the leading spirit. Another motive is created by having Andrew Maxwell devoted to the perfecting of a universal language which will prevent the recurrence of the present world war. And still another one is introduced by having the sister-in-law of the young man. who is in love with Ruth Maxwell, the president of a charitable organization called "The Outstretched Arms." the good woman being the leader in the fight against the ice trust. "Sins of Ambition" belongs to the class of melodrama that Scene from "Sins of Ambition" (Ivan). aims to appeal strongly to the emotions and hold the spectator's interest by force of the variety and vigor of its "punch." From this point of view it will sustain the reputation of its pro- ducer. Except that Barbara Castleton overacts several of her dramatic scenes *he individual efforts of the members of the cast are uniformly admirable. The leading characters are taken by Wilfred Lucas. Barbara Castleton, Leah Baird. James Morrison, Madaline Traverse, Anders Randolf and Edward Lawrence. "Smashed in the Career" Fox-Lehrman Comedy That Filled the House With Laughter — Filled With Many Astonishing Stunts. Reviewed by Hanford C. Judson. THE new Fox Lehrman comedy, "Smashed in the Career," has among other properties a swimming pool and a race course for autos and a tall tower for the judges to view the race. It has the expected Lehrman quality in its wealth of dashes, splashes, jumps and almost unthinkable combinations. It is so filled with the unexpected and the astonishing that it baffles any description at all. One noticeable thing will be 96 THE MOVING PICTURE WORLD Jaru-.arv 5, 19^3 the costumes of the maids attending the mistress of the house when she is taking her morning dip in the swimming pool — strong armed maids they are to keep the men servants in their place. Then we see the heroine come "fresh" from her dip to greet father. Her affectionate upper-cut of a love tap breaks the rocking chair. This is only a beginning. There is much of it that made the reviewer laugh. The house was laughing most of the time. "Sadie Goes to Heaven" Another Pleasing Story Filmed by Essanay, in Which Little Mary McAlister Sustains the Honors Delightfully. Reviewed by James S. McQuade. SADIE Goes to Heaven," which has been adapted from a story that appeared in "Good Housekeeping" some time ago, is a most rutins vehicle for little Mary McAlister, and it is almost needless to state that little Mary invests Sadie Scene from "Sadie Goes to Heaven" (Essanay). with a glamor which captures the hearts of both old and young. Sadie is stirred into thinking about heaven by a Sunday- school teacher, who chances to see the poorly dressed, dirty- faced child one day sitting on the bottom step of the flight leading up to her humble home, with her constant companion, George Washington Square, in her arms. This high-sounding name introduces Sadie's pet dog, also a creature of the slums, and just as dirty and untidy as Sadie herself. Sadie's mother is a washerwoman, whose hard life is shown by her definition of heaven when Sadie asks her what it is like. "Heaven's a place where a woman don't have to sweat her soul out over the wash boiler," is her reply to Sadie's question. How Sadie contrives to smuggle herself and her dog into the beautiful home of a very rich woman, and how she believes that this home is heaven itself is the chief burden of the story. But when the rich woman discovers the child and is horrified by the appearance of George Washington Square, she orders one of her servants to remove the "beast" at once. It is then that Sadie makes her choice against heaven in favor of her tousled pet in the words: "I wouldn't give up George Washing- ton Square for all the heavens what ever was." I was much disappointed by some of the interiors in the supposedly beautiful home which Sadie takes for heaven. The cast also is rather weak, outside the parts of Sadie and Hal Hawkins, the latter being very well impersonated by Rod La Rosque. Release will be made December 24 through the George Klein,- System. "Madam Who" General Film Company Releases Seven-Reel Paralta Produc- tion, Based on Story by Harold McGrath. Reviewed by Robert C. McElravy. THIS seven-reel offering must be added to the list of suc- cessful Civil War stories. Adapted by Monte M. Katter- john from a narrative by Harold McGrath, it contains plenty of plot and action, as might be expected. In addition, the number has been given very careful attention in the mat- ter of settings, costuming, characterizations and the further details that make for an atmosphere in keeping with the times depicted. Bessie Barriscale is cast in the leading role, that of a South- ern girl whose father and two brothers have fallen in the great conflict. As the story begins, she determines to offer her life if necessary to further the Southern cause. She accepts a com- mission to act as a spy and goes to Washington to carry on this work. Miss Barriscale gives a convincing portrait of this sensi- tive, high-bred girl, who matches her wits with the men of the government secret service. The plot takes on unusual interest from the moment the girl is captured hy a body of Northern secret service men and given the choice of death or marriage to one of their number. The situation itself lacks probability, but is made to seem real. The girl finds herself married against her will to a man whose face is concealed behind a black mask. In the course of the story several of the men who know her story and the manner in which she became known as "Madam Who," are killed, includ- ing the unwelcome husband. But the girl herself finds happi- ness at the close of the tale with the young Northern officer with whom she has reluctantly fallen in love. The final reel of the number pictures in a graphic way the evacuation and fall of Richmond. This shows the thrills and excitement of warfare as it was waged in the '60s. and even in contrast with modern methods it rises to great dramatic heights. The cast is a big one, hundreds of men being employed in the final scenes. Edward Coxen and Howard Hickman have two of the leading male roles. A word should be said for the subtitles and their accompanying scenes, which have been care- fully looked after. "An American Widow" Ethel Barrymore Featured in an Amusing Comedy Based on Kellett Chambers' Play of the Same Name. Reviewed by C. S. Sewell. FOR the first time since she Joined the Metro forces, Ethe. Barrymore has been provided with a comedy role, in "An American Widow," adapted from Kellett Chambers' stage production of the same title. It is an amusing offering, afford ing her opportunities more in line with the parts portrayed in her stage successes and in contrast with her previous dramatic screen roles. The production is in five reels. Elizabeth Carter, a wealthy widow, with everything she can wish except a title, prepares to marry the Earl of Dettsmin- ster, when she is informed that, according to her late husband's will, his fortune will revert to a nephew unless her second husband is an American. She therefore hires a struggling playwright to marry her, with the understanding that there will be an immediate divorce so that she may then marry the Earl. After amusing complications and experiences, by the time the divorce is obtained the playwright, who has achieved suc- cess, discovers he really loves his wife and his affection is re- turned. The Earl elopes with an actress and it is discovered that the codicil has been forged by the unscrupulous nephew and his lawyer, who is also the executor of Elizabeth's estate. As Elizabeth Carter, Ethel Barrymore is cast in a congenial Scene from "An American Widow" (Metro). role, which she handles admirably, and she is supported by a competent cast, including Irving Cummings as Mallory, the playwright; Dudley Hawley as the Earl, and Alfred Kappler as the nephew, together with Earnest Stallard, Arthur Lewis. Pearl Brown and Charles Dickson, the latter being particularly satis- factory as Elizabeth's old friend and adviser. Frank Reicher directed the production, and the photography, settings and other details are in keeping with the Metro stand- ard. "The Blue Bird" a Photographic Marvel. Filming Materlinck's "Blue Bird" is a stupendous under- taking, requiring every photographic trick ever conceived and the originating of many new ones. It has remained for Artcraft to visualize these poetical visions, and under the direction of the great French artist and producer, Maurice Tourneur, the allegorical and symbolical epic is presented pictorially to civilization in a language under- standable by all and depicted so clearly that a child can understand it. January 5, 1918 THE MOVING PICTURE WORLD 97 "The Unmarried Look" Metro-Drew Comedy in Which Mr. Henry's Unmarried Look Is Both His Good Fortune and His Misfortune — Fine in Comic Values. Reviewed by Margaret I. MacDonald. THE psychology of the Metro-Drew comedy "The Unmarried Look" is unquestionable. The production is one of the funniest of Drew comedies and will be enjoyed especially by the benedict class of the male population. Sydney Drew as Mr. Henry does some of his best work, and Mrs. Drew is sweet and more thoroughly feminine than ever in this number. One of the points of the picture that will be enjoyed is the presenta- tion of various types of men with a "married look" as com- pared to Henry of the "unmarried look." But in spite of all the troubles (and successes) which the "unmarried look" causes Henry, he finally rises to the "very crown" of the hat business. For be it known Henry is a seller of Cupid hats, and is called upon to flaunt his graces before the feminine sex with whom he has become very popular, even to the near disruption of his domestic happiness. One day when Mr. Henry left the house in an unusually buoyant spirit Mrs. Henry's suspicions caused her a very bad half hour, at the end of which she decides to call at the Cupid Hat Palace and investigate matters for herself. Here she finds hubby busy with a fair customer, and be it said to Henry's credit that his interest in the fair sex other than his wife is merely a matter of business. The final straw falls "when at home once again Mrs. Henry is obliged to take a phone message from one of these fair cus- tomers with whom hubby has made a lunch engagement, and is under the painful necessity of informing her that she is Mr. Henry's wife and not his mother. A tempest in a teapot ensues in the Henry household upon which the curtain is wisely drawn. We are then led over a skip of several years, when we And Henry a happy father. He has now climbed to the "very crown" of the hat business, as before stated, and has become an absolute nuisance by way of his pride in his possession of a son. For even should he forget to state that he has a wife, he never forgets to acclaim the fact that lit- is the possessor of a baby son. "Brown of Harvard" Six-Part Essanay Screen Version of the Successful Stage Play, Arranged and Directed by Harry Beaumont, a Pleasing Picture — Distributed by George Kleine System. Reviewed by Edward Weitzel. RIDA JOHNSON YOUNG and Gilbert P. Coleman, the authors of "Brown of Harvard," showed great insight by selecting a subject that appeals directly to youth. The life and energy of the college boys with which the play is filled and the sports and pranks in which they delight keep the action mov- ing swiftly, and the young at heart, whether sixteen or sixty, will respond to the truthful pictures of college life. The serious motive of the story will not fare as well with many of the spectators. Moreover, most of them will receive it tolerantly for the sake of the amusing qualities possessed by the play. The six-part screen version, arranged and directed by Harry Beaumont and produced by Essanay, is superior to the piece in its original form. The outdoor scenes and the college boat- race is much more effectively done in the picture, notwithstand- ing the fact that scenes from a real race are blended in with those made especially for the play. The story of "Brown of Harvard" is of "The Cinderella Man" grade. The hero is one of those perfect mortals found only in fiction. Rich, handsome and generous to a fault. Brown goes through life achieving the impossible with that delightful ease which so captivates the feminine heart. Beloved by Evelyn Ames, a most attractive maiden. Brown nearly loses the girl through the conduct of her brother. The spoiled young cub secretly married the sister of one of the students who is work- ing his way through college. The brother imagines that Brown has wronged his sister and there is all kinds of trouble for everybody until the final explanation. When the brother with- draws from the race at the last moment Brown takes his place as stroke and helps send the boat over the line a winner. The acting of the cast is entirely satisfactory. Tom Moore as Tom Brown, Hazel Daly as Evelyn Ames, Warner Richmond as Claxton Madden, Kempton Greene as Wilton Ames and Sidney Ainsworth as Victor Colton have the more important roles. • Wyndham Standing with Petrova. Announcement was made this week by the Petrova Picture Company that Wyndham Standing, the prominent English actor of stage and screen fame, had been added to the cast of the third Petrova production, now being picturized under the direc- tion of Frank Crane. Mr. Standing comes of a long line of distinguished stage players. The member of the Standing family who will be seen with Madame Petrova in "The Life Mask," which has been chosen as the third starring vehicle for the Polish artist, has appeared with all of the leading stage celebrities of the present day and has to his credit many notable characterizations in screen pro- ductions. Thomas Holding, who has played opposite Madame Petrova in the first two pictures bearing the mark of her own organization, will continue as leading man. "The Girl by the Roadside" Violet Mersereau Star of Five-Part Screen Version of Varick Vanardy's Novel, Has Congenial Role in Rather "Sugary" Photoplay. Reviewed by Edward Weitzel. IN "The Girl by the Roadside," a five-part Bluebird made from a novel by Varick Vanardy, Violet Mersereau gives a performance that is always consistent with the character. As Judith Ralston she is called upon to portray a young girl Scene from "The Girl by the Roadside" (Bluebird). who is found by the roadside by a young man in an auto just after her horse has thrown her and left her with a sprained ankle. Boone Pendleton, the rescuer, is on his way to his hunting lodge. Finding that he has run short of gasoline and a heavy storm is about to break, he takes Judith pig-a-back and tramps off to the cabin. They pass the night there, with due regard for the proprieties, and the next morning two offi- cers come in search of the girl. Boone helps her to escape, but does not learn where she intends going until he accepts an in- vitation to visit a country home and finds Judith there. Judith has a brother who earns his living dishonestly, his wife aiding him. The girl is ignorant of this. The three were stopping at a country hotel when she first meets Boone. A Secret Service man is after the Ralstons. He arrests the brother and his wife while Judith is at the lodge, but they escape and reach their home. The detective gets on their track, arrives at the country place and corners Budd Ralston down in the cellar, where he has a counterfeiting plant. Just as the Secret Service man goes to seize Budd that gentleman slips through a sliding panel and disappears. He has already promised Judith to re- form, and Boone is on hand to comfort the girl and assure her that they will be married as soon as it can be arranged. The mystery of Budd Ralston's misdeeds is not explained until the very end, and this helps to sustain the interest, but most of Judith's scenes are of the "sugary" sort and call for a youthful appearance, a kittenish manner and the ability to look natty in a cross-saddle riding costume. Violet Mersereau fills all these requirements and admirers of this school of fiction will find her performance very much to their liking. Allen Edwards is breezy and natural as Boone Pendleton, and Robert F. Hill is an excellent type of Secret Service man. Cecil Owen, Ann Andrews, Royal Byron, Kenneth Hall and Sam B. Minter complete the cast. The scenario was made by John C. Brownell and Theodore Marston directed the production. Toto in "The Movie Dummy." Following the announcement that Pathe would release the first Toto two-reel comedy on January 13, a statement this week contains the news that the picture in which the famous comedian will make his initial "bow will be "The Movie Dummy,'' instead of "A One-Night Stand." The change is made because quick service in shipping prints to exchanges can more easily be accomplished on "The Movie Dummy" than on the other "Laugh Festival" since, having been produced earlier, it "was placed in work first. The second Toto comedy will be "The Junkman," the third "Fare Please," and the fourth, "A One-Night Stand." In "The Movie Dummy" Toto is supported by a splendid cast. He himself plays the Dummy, "all wool and a yard wide." Kathleen O'Connor, an extremely attractive little blonde, is "Imogene, the ingenue, the three-sheet favorite," and Marie Mosquini is "Vera Che Vamp — not so bad as she paints her- self." EXHIBITORS! See the New Department on Page 131. 98 THE MOVING PICTURE WORLD January 5, 1918 r psrs g gg g§ g ^-^ .^ .g. g-.gsg.g. g.eyg Comments on the Films EXCLUSIVELY BY OUR OWN STAFF r ^> r ^ ^ .^ .^^rgj ^^ ^^^^ ^g^K ^g , - ^- 6£- gj £4- *£• ^- €£• gl General Film Company. MAKE YOUR EYES BEHAVE (Essanay). — A one-reel comedy, featuring Arthur Higson and Rose Burkhardt. This deals with a flirtatious husband and his very portly wife. The scenes occur in a park, on a bus and an automobile and wind up In the police station. This is quite amusing throughout and has some laughable knockabout scenes at the close. AFTER THE MATINEE (Sparkle). — A knockabout number of the eccentric type, featuring Billy Ruge. He and his partner in the law business become mixed up with an actress and their wives discover them. The action is of the rough and tumble sort and contains some amusing moments. THEIR MODEL CAREER (Jaxon). — Stull and Ruge appear in this number as two flirtatious individuals. The latter suddenly inherits his aunt's cloak and suit business, which they conduct in an amusing way. Some of the models make a rather breezy appearance, but there is nothing that will greatly offend. HOW IT WORKED (Jaxon). — A comic number, featuring Burns and Stull as "Pokes" and "Jabs." The plot concerns a henpecked husband, whose wife returns home suddenly to find him having a good time. She breaks up the party in typical burlesque style. Not very new in plot, but quite amusing in spots. SMASHING THE PLOT (Sparkle). — A comic number, featuring Billy Ruge. He plays the part of an Italian organ grinder who becomes in- volved in a bomb-planting plot. The girl saves a bridge from destruc- tion and her lover's life. This makes a fair subject of the knockabout type. MADAM WHO ( Paralta-General Film). — A strong seven-reel num- ber, adapted by Monte M. Katterjohn from a story by Harold McGrath. The plot is laid in the fourth year of the Civil War and leads up to the evacuation and fall of Richmond. The number is well made in every respect, the settings and atmosphere are good and the characterizations strong and convincing. The cast is an elaborate one and the plot and action are excellent. Reviewed at length elsewhere. Artcraft Pictures Corporation. THE NARROW TRAIL (Artcraft).— A thrilling western subject, fea- turing William S. Hart. It is reviewed in last week's issue. THE DEVIL'S STONE, Dec. 17. — An intense romance of strong situations, produced with exceptional skill and featuring Miss Geraldine Farrar at her best in the leading role. Christie Film Company. THIRTY DAYS (Christie). — Not a new subject, but entertainingly presented. A husband, fond of his club, fails to keep his promise to his wife not to visit it during the period of her vacation. He gets into trouble which eventually lands him in jail by disobeying orders and pretending that his household is a victim of scarlet fever, while he and his pals transfer club life to his home. A full review will be found elsewhere. NEARLY* A PAPA (Christie). — An amusing production, featuring Jay Belasco and Betty Compson. The situation of the story arises out of a mistake in a telegram which leads a young husband to believe that he is a father. A full review of the picture will be found else- where. Fox Film Corporation. THE PRIDE OF NEW YORK. Dec. 9.— A Walsh patriotic five-reel melodrama that will be a decided hit, especially with the soldiers. The audience at the Fox Academy of Music In New York showed clearly that it was appreciated. It is noticed at more length on another page of this issue. SMASHED IN THE CAREER (Fox-Lehrman Comedy), Dec. 9.— Plenty of dash and full of unexpected comic situations mixed with wit, burlesque, comic characterization, and irresponsibility. It made a large audience bellow. For a longer notice see elsewhere in this issue. UNKNOWN 274, Dec. 16. — A June Caprice picture in five reels. The plot works up to an exciting struggle between the villain and the girl when her simplicity has led her into danger. June has a typical role as elavy in an orphanage and wins out by her heart qualities. There is excellent heart interest in it, and it is well played and directed. See longer review elsewhere in this issue. General Enterprises, Inc. ture with skill and Elizabeth Risdon plays the title role with re- markable feeling and effect. A longer review is printed on another page of this issue. Greater Vitagraph. WHEN MEN ARE TEMPTED, Dec. 24. — This Blue Ribbon Feature was written by Frederick Upham Adams and Mary Anderson is a mem- ber of the cast. The story is not very convincing. It is given a longer review on another page of this issue. Ivan Productions, Inc. SINS OF AMBITION (Ivan). — Barbara Castleton, Leah Baird and Wilfred Lucas are the leading players in this seven-part photoplay which shows the unnatural length to which one woman goes when in- spired by a mistaken ambition. A longer review is printed on another page of this issue. George Kleine System. SADIE GOES TO HEAVEN (Essanay), Dec. 24. — This is a very pleasing and amusing story in which Little Mary McAlister will please everyone by her remarkable realisms in the leading role. A detailed review is given on another page, this issue. Metro Pictures Corporation. BLUE JEANS (Rolfe Metro) Dec. 10.— The seven-part screen version of the celebrated old melodrama with its famous sawmill scene retains the life and vigor of the original. Viola Dana is excellent as June, and the entire cast and production are highly creditable. A longer review was printed in last week's issue. WAGES NO OBJECT (Drew), Dec. 10. — An original subject has been found for this amusing Drew comedy which appears to be slightly behind some of the others in comedy values. The necessity of engaging a cook for the Minor household is brought about by the temporary desertion of Mandy for her home in old Kentucky. An answer to an advertisement in which it is stated that a home rather than high wages is the object of the party, brings a neat, refined, capable person, whose middle name is "gloom." After a week of tear- steeped service, Mrs. McGuire, as she is named, is palmed off on a west- ern friend. AN AMERICAN WIDOW, Dec. 17. — This five-reel picture is based on Kellett Chambers' play of same title. It is an interesting comedy, the first in which Ethel Barrymore has appeared, and deals with the heroine's attempt to frustrate her husband's will and marry an Eng- lish earl. She finally falls in love with a struggling playwright, who has aided her by becoming her second husband and then divorcing her. Reviewed elsewhere in this issue. THE UNMARRIED LOOK (Drew), Dec. 24.— One of the very best of Metro-Drew comedies. Mr. Henry of the unmarried look, in this num- ber is seen selling Cupid hats, and is successful, by means of his marvellous ability, to read human nature. He has learned, among other things, that frequently the amount of a sale depends largely on the amount of champaigne the seller is able to spill. Mrs. Henry, be- coming unduly suspicious of Mr. Henry's associations with his fair customers, decides to look into things, and in doing so "nearly spills the beans." A full review will be found elsewhere. Mutual Film Corporation. MOTHER (McClure).— Six-part screen version of Edon Phillpotts' novel of English rural life, George Lome Tucker has directed the pic- JERRY'S DOUBLE CROSS (Cub), Dec. 20.— The young lady has again appeared in the Jerry comedies, but the story In this number Is an improvement on the last in which this attractive little actress appeared. In this instance Jerry's future father-in-law keeps an antique store in which a sale of fake articles marked with a double cross is to be held. Jerry buys a vase and, In breaking it ou the head of a clerk, who has .offended him, the nice sum of ten thousand dollars is discovered, which he promptly pockets, at the same time walking off with the girl on whose account he had all but committed suicide. THE LOST EXPRESS NO. 14 (Signal), Dec. 19.— One of the most interesting of the episodes of this serial is the fourteenth, entitled, "Unmasked." In this episode Helen, in spite of a feeling that the Gaston Pitts of the present is not the same as In the past, marries him. A great deal of suspense is created by the preparations for the wedding and the rescue of the real Gaston Pitts, brother of Theodore, better known in the character of "Harelip," running neck and neck. The fact that the marriage takes place before news of Gaston's rescue can reach the Thurston household makes an exciting circumstance. THE LOST EXPRESS NO. 15 (Signal). Dec. 26.— This is the final episode of this serial and is entitled, "The Return of the Lost Ex- press." In it the Baron is shot while trying to get away with some January 5, 1918 THE MOVING PICTURE WORLD 99 loot, and tells the whereabouts of the Lost Express. Theodore Pitts, In a struggle with his brother, is mortally injured. It closes in rather an unsatisfactory manner, in spite of the fact that It holds the interest of the spectator by thrilling events as in former episodes. HER SISTER (Empire), Dec. 24. — An attractive five-part adaptation of the stage play of the same name, featuring Olive Tell. The produc- tion directed by John B. O'Brien, is artistic in quality, and Olive Tell's interpretation of the principal role will be enjoyed. A full re- view will be found elsewhere. MUTUAL WEEKLY NO. 15G (Gaumont), Dec. 23.— Excerpts from a letter from a boy in France with the Red Cross Ambulance Corps forms an interesting part of this number of the Weekly. Scenes in Chicago showing preparations for the soldiers' Christmas, and also the arrival of a Christmas tree ship are interesting. Other Items treat of the happenings in Europe and at the American camps. MARY'S BOOMERANG (Strand), Dec. 25.— Billie Rhodes is charming in this amusing comedy in which she gets In wrong trying to prove to a friend that no man, even her friend's husband, is above being tempted by a pretty girl. She writes the husband, with his wife's sanc- tion, to meet her at a certain hotel. The husband sends a friend in his place, who, upon treating the young lady to supper, is forced to send for the man for whom the invitation was intended to settle the bill. Funny complications occur which are finally smoothed down when mis- understandings are explained. Paramount Pictures Corporation. NAN OF MUSIC MOUNTAIN (Lasky), Dec. 17. — A remarkable cast surrounds Wally Reid in this fine story of the early west. An ex- tended review will be found in last week's issue. LOVE LETTER, Dec. 24. — A five-reel picture with Dorothy Dalton in a part that gives her a chance to do some commendable acting. She is ably supported by cast and director, and the photography is excep- tionally fine. The story has good continuity and the big scene Is very tense. There is a longer notice on another page of this issue. TAMING TARGET CENTER (Mack Sennet Comedy), Dec. 30.— A two-reel Mack Sennett comedy with some rich burlesque turns and one or two hair-raising stunts like a marvelous leap on horseback over a canyon and a chase on horseback through a hotel, upstairs and down. For longer notice see review on another page of this issue. Pathe Exchange, Inc. THE FLOWER OF DEATH (Pathe), Dec. 30.— Episode No. 6 of "The Hidden Hand." New attempts are made upon Doris and Jack Ramsey in this number. No sooner have they escaped from the church than Dr. Scarley pours poison into a night blooming cereus. He intends to kill Jack with this, but the servant places it In Doris' room, and the girl is almost overcome by the poison as a result. Later the "Hidden Hand" prepares a bed of boiling lime, over which Doris is suspended as the instalment closes. The number contains much action of an ex- citing, melodramatic sort. CONVICT 993 (Astra-Pathe Play), Jan. 6. — A strong five-reel crook story, written by Wallace Clifton and directed by William Parks. This features Irene Castle as Roslyn Ayre, and opens with her serving a prison term. She escapes from prison and is afterward blackmailed by a girl she met while behind the bars. She joins the latter's gang of crooks and this leads to their undoing. The plot Is more or less familiar, but is handled skillfully and has a genuine surprise at the close. Reviewed at length elsewhere. I Harry Rapf. THE STRUGGLE EVERLASTING (Harry Rapf ) .—Seven-part screen version of Edwin Milton Royle's morality play, the production is an excellent one. Florence Reed's performance of the leading part being something new in vampires. A longer review is printed on another page of this issue. S. & S. Film Corporation. JUST A WOMAN (S. & S. Film Corp.), December. — Eight-reel screen version of Eugene Walter's stage play, directed by Julius Steger, the story has a strong heart interest and is well acted by a competent cast headed by Charlotte Walker. It is given a longer review on an- other page of this issue. Triangle Film Corporation. THE GOWN OF DESTINY, Dec. 30.— Founded on a story by Earl Derr Biggers, this five-part photoplay is novel in theme and Inter- esting from start to finish. It is given a longer review on another page of this issue. BETTY TAKES A HAND, Jan. 6.— This story took the second prize in the Triangle contest. The situations are treated almost entirely in a comedy vein and are amusing. Olive Thomas is the rtar. A longer review is printed on another page of this issue. CURRENT EVENTS NO. 32 (Universal), Dec. 22.— Recruiting In Australia makes a strong feature of this number ; also the scenes taken in Halifax after the explosion. Other features are women letter carriers in New York City, drilling field artillery at Yaphank and newspaper cartoons from prominent dailies. THE HIGH SIGN (Universal Feature), Dec. 31. — A five-reel num- ber, written by J. Grubb Alexander and Waldemar Young and di- rected by Elmer Clifton. Herbert Rawlinson and "Brownie" Vernon play the leads, supported by Edward Brown, Nellie Allen, Marc Fenton and others. The story concerns a college youth who dreams that he goes to the kingdom of Burgonia, where he passes himself off as a prince and marries a princess from an adjoining state. The action ie lively and reaches a pleasing climax, and the settings and photography are attractive. Reviewed at length elsewhere. BUSTED HEARTS AND BUTTERMILK (Nestor), Dec. 31.— A two- reel subject, based on a play by Lincoln J. Carter, featuring Adele Farrington, Hayward Mack and others. This is a broad burlesque on the vampire type of melodrama. The characterization of the vampire is well done, but the costume may be subject to some criticism. The burlesque touches are very funny, showing the way the husband is lured from his wife and becomes a buttermilk fiend. The wife strug- gles with poverty by playing solitaire. The closing scenes occur In the den of the vampire and her followers. An entertaining subject, though broad in tone. CARNIVALS AND CANNIBALS (L-KO), Jan. 2.— A two-reel comic, featuring Mert Sterling, AI Forbes and Russ Powell. The number contains much amusing nonsense, picturing the adventures of a young country couple at a county fair. They visit the various amusement concessions and then fall asleep in a canoe and dream they have been captured by a band of cannibals. The humor consists of little tricks and mishaps. Children will undoubtedly like this number. KIDNAPPED (Universal Special), Jan. 5.— Episode No. 6 of "The Mystery Ship." Important changes in the plot occur In this number, some of them a little too casually to keep a good degree of interest and suspense. Betty and Gaston, after their long enmity, unite forces and return to Los Angeles, in pursuit of Harry, who has fled with the treasure. The latter has joined interests with "The Spider" and his gang. The action is entertaining, but considerably lacking In dramatic effect in contrast with that of previous numbers. THE RED ACE (Episode No. 12, "Overboard"— Two Parts— Uni- versal Special), Jan. 5.— This continues the efforts of Virginia and Wmthrop to overtake the fleeing spies. They succeed, by a daring trick, in boarding the vessel on which the spies are coming to the United States. The situation creates much suspense and winds up with a hand-to-hand struggle. The interest is very strong as this serial continues. Universal Film Manufacturing Company. ANIMATED WEEKLY NO. 3 (Universal), Dec. 19.— Ice boating on Shrewsbury River. N. J. : Red Cross activities, women acting as stage hands, scenes from stricken Halifax, labor for blind French soldiers', and cartoons by Hy Mayer are features of this number. World Pictures. DIAMONDS AND PEARLS (World) .—Kitty Gordon and Milton Sills have the leading parts in this five-reel photoplay which shows a woman s attempt to win happiness by sacrificing everything for wealth and position. It is reviewed at length on another page of this issue Biograph Studio Available for Producers Many Large Productions Have Been Made There During the Past Year — Room for Ten Companies. THE big Biograph studio, at 807 East 175th street. The Bronx, as well as its adjoining laboratories, is at the service of producers who are looking about for motion picture manufacturing facilities. The stages, all equipped with over- head and side lights, together with a large assortment of scenery, etc., are available by the week or longer. Thomas A Persons, who has had large experience in studio control es- pecially with the Selig company, is manager. Mr. Persons 'says there is ample room for ten companies to work comfortably The completion of Harry Rapf's production, "The Struggle Everlasting," starring Florence Reed and directed by James Kirkwood. is the sixth production staged there by Harry Rapf during the past year. His former productions were "The Argyle Case." "The Silent Master." "The Mad Lover," 'The Forced Honeymoon," all featuring Robert Warwick, and "To-Day" with Florence Reed. Aside from directing some of the Harry Rapf productions Ralph Ince has produced "The Co-respondent" and "The Battle Cry." with Elaine Hammerstein. Mme. Petrova is at present busy with her Petrova pictures and has already completed two productions at this studio. Clara Kimball Young produced three subjects during the past year. Others who have made pictures in the studio during the past year are "Fatty" Arbuckle and Harry Weber. Mark M. Dintenfass is now producing Ambassador Gerard's "My Four Tears in Germany," under the direction of William Nigh. "HIS FISHY FOOTSTEPS" (General Film). The second of the Finn & Haddie Comedies. "His Fishy Foot- steps," is released this week by General Film Comrjany. This concludes the fifth series of Jaxon comedies, which will be followed immediately by a series of six Finn & Haddie come- dies. Billy Ruge, the inimitable comedian who has been star- ring in the Sparkle Comedies, appears this week in "Double Cross," a rollicking screen comedy with some unusually enter- taining situations. 100 THE MOVING PICTURE WOSLD 1918 •f p fg fg gr- g §g _^^3 i^5^i5° ^ ^ g • • • ^ gggg -s 2| •j.'a g| ^ »1 ^ ^ jgl °^ •*». State Rights Department Conducted by A. K. GREENLAND ^g^83^R^g-g^^ ■05 °^ .^ Silverman Explains Further Details Presents New Twist to Current Efficiency and Economic Combinations Aimed Primarily to Advance Interests of Exhibitors in His Territory. MATER SILVERMAN is hard at work perfecting the initial details of his proposed organization, which is to combine his exchange, The Liberty Film Renting Service. Pitts- burgh, Pa., with a circuit of sixty or more motion picture thea- ters located within the normal booking radius of his exchange, into a joint buying and distributing corporation, whereby the securing and distributing of feature state rights productions may be conducted not only with efficiency, economy and time- saving, but also at an actual profit to the mutual stockholders that subscribe to his views and take stock in the new enter- prise. Mr. Silverman points out that he does not desire to own the controlling stock for himself but is "willing to retain only about 15 per cent, thereof, and aims at a constant buying fund of about $15,000 with which to make purchases of productions measuring up to the accustomed standard, and provide for the maintenance of such basic expenses as would be part and parcel of the exchange, minus all its present heavy and avoid- able encumbrances. No one exhibitor is to be allowed more than 3 per cent, of the stock, which again will prevent any one man appropriating the voting power and control. In many other ways, too, Mr. Silverman has aimed to protect the stock- holders. Meetings are being called by Mr. Silverman, in which all interested exhibitors have been asked to participate. Insomuch as the movement presents a new twist, the Moving Picture World, without attempting to deviate from its truly neutral course in all matters of this kind, herewith prints for the attention of its readers the following explanatory letter in which the Pittsburgh state rights exehangeman sets forth his ideas in brief form: "We desire to co-operate with exhibitors in our territory for the purchase of state rights productions, regular weekly re- leases, comedies and so on, in order to eliminate the excessive overhead expenses of traveling salesmen, excess advertising, disparity of ideas regarding the booking of productions, and to cut the excessive time limit required in booking pictures inde- pendently. "We have been in the moving picture business for ten years — always independent. It is almost necessary for us to add an excessive overhead in order to meet the expense as above de- scribed. We will eliminate this expense by combining approx- imately ninety-day bookings, using two subjects among our own exhibitors, who will be taxed with the entire cost of the production plus overhead expenses. Our additional profit will be derived from exhibitors outside of our combination who book and run our subjects. "We will incorporate only to the value of our stock. We are not figuring on any exorbitant ideas, only on a pure, simple, business-like basis, by booking up the subjects we have open in our territory. We will be enabled to give back to the ex- hibitor in dividends the sums derived from the bookings, almost a sufficient amount to pay for his initial investment. Accrued dividends will be available to our exhibitors every two or three months. "We will not publish the names of member exhibitors in connection with this idea until we have at least twenty checks on hand, for the reason that should we not be enabled to go through with this proposition we will return their checks and endeavor to do business as heretofore. "I am informed that there are already several of these cir- cuits in operation and have knowledge of several being pro- mulgated in various sections of the country. In our advance notices sent out to exhibitors in this territory you will note that we called attention to these various ideas of producers and manufacturers, but in not one of these do they figure in the exhibitor. It is true I am backing a great deal of my repu- tation as a fair-minded exchange man to induce a number of exhibitors to join with us and am agreeably surprised at the attitude taken by the majority of theater-men whom I have approached. ' "The old methods of doing business followed out by certain feature exchanges who figure on volume and end up with a loss must necessarily be eliminated. The release of certain subjects on a state rights basis as high-priced productions which are generally without great profit to the exhibitor, will, of a necessity, be eliminated. The exhibitor must receive state rights productions at a reasonable figure to allow him . a living profit, and I do not think that there is any method that has s<> fur been advanced th;it can equal my proposition." JOE LEE OFF ON SWING. The Joseph F. Lee Buying Agency is on the tongue of many ot the independent exehangemen throughout 'the country this week and next, as it also was last week, for Joe Lee, founder of the movement and its head, is off on the swing around the circuit, as promised in an interview with the representative of the Moving Picture World, chronicled on page 1650 of our December 15 issue. Already Mr. Lee has been in Chicago Kansas City and other distributing centers in that belt and is due, or perhaps has already arrived, on the coast, where he will doubtless spend the holidays. Mr. Lee is an energetic worker and one who does not fail to line up any proposition that he may espouse, so that the trade may well look forward to a full statement of his accomplish- ments upon his return to New York, which is expected before the middle of January. As it is, the Joseph F. Lee Buying Agency is already organized completely, and the trip of its founder is really in the nature of a last moment consultation before embarking upon its career. In addition to the details contained in the issue above referred to, our readers are hereby advised that much data on this proposition is to be found on page 1710 of our September 15 edition. EARLY G. E. PLANS FOR 1918. Arthur H. Sawyer and Herbert Lubin. moving spirits of General Enterprises. Inc.. announced this week that their plans for the new year embraced continued activity in the field of state rights, together with a widening of their present scope, so as to embrace the production of special features during the year 1918. Herbert Lubin, who negotiated the contract between •Madame Olga Petrova and Superpictures. Inc., has closed ar- rangements whereby William Christy Cabanne, author and producer of "The Slacker" and "Draft 258," will head Cabanne Superpictures, Inc., in the production plans of which Mr. Lubin will play a prominent part. The formation of this new organization is now in course of process and work on produc- tion will start early in January. The next big film spectacle to be exploited by General Enter- prises. Inc.. as a successor to "The Warrior" will be seven reels in length and will offer as a star one of the leading Scene from "The Liar" (General Enterprises). female screen players at present high in public favor. In addition to the plans outlined above, the McClure production, "Mother," is at present being successfully exploited bv Messrs. Sawyer and Lubin, and they have recently acquired the rights to "The Liar," a six-part society melodrama, starring the for- mer Universal favorite, Jane Gail, and directed by William Haddock. The present offices of General Enterprises, Inc., at 1476 Broadway, will be enlarged so as to include a projection room. January 5, 1918 THE MOVING PICTURE WORLD 103 "Mickey" a Comedy Plus Trade Showing After the Yuletide Season — Mack Sennett Furnishes Interesting News Regarding Production. THE Western Import Co., who control the world rights to Mabel Normand in "Mickey," gave out the following interview with Mack Sennett relative to the reasons why "Mickey" was so costly. "Wastage in the production of motion pictures is a favored topic among writers. They scold the industry very severely for flinging money away. Pioneers are always wasteful. In the old buffalo days on the plains, hunters cut ont the tongues and rump steaks and abandoned the rest of the meat to the wolves. Just so the pioneers in any mining district take only the richest of the ore. It is the men who come afterward who sift the gold from the ore dumps." "I have no doubt that in time the production of motion pictures will be as carefully systematized as a packing house "where they sell every part of the pig but the 'squeal.' At present we are progressing too rapidly in big things to occupy ourselves with stuffing up little leaks." "At the same time the wastage is less than appears to the superficial observer. Compare the production of "Mickey," the big feature picture which we are about to release, with a big theatrical productions. Before a big theatrical show sees Broadway it has been rehearsed for weeks. By the time it appears in New York the chances are that not more than one line out of ten remains of the original manuscript. We can't put a motion picture out on a trial run. When it leaves our hands its mistakes are irrevocable. What appears to be an Scene from "Mickey" (Western Import) appalling wastage of film is our substitute for the tour of trial performances in the small towns. When we hit upon a comedy idea we go over it in council and pick it to pieces. We weigh it, we taste it, we do everything but take the filling out of its teeth; finally we decide to tear it to pieces again at rehearsal. Finally it goes to the camera. At this point occurs the apparent wholesale wastage. We take each situation from half a dozen angles. If we get two or three 'hunches' we take them all. When we finished 'Mickey,' we came to the projection room with enough film to make five or six big pictures. On an average we cut out four or five feet of film for every foot that we made. In fact, the cutting of 'Mickey' could be compared with the Chinese Ling Chee (the death of a thousand cuts). Some of the scenes from 'Mickey' have been made twenty times. This was not because the first time was not good. We were determined that no matter how much time it took or how much film was used up, 'Mickey' must be as near perfection as human effort could make it. 'Mickey,' the adorable little girl around whom this story -was woven, is as real to me as though she were a living person. If I let 'Mickey' go out upon the road to seek her fortune, knowing there was one more thing I could have done for her, I would feel as though I had starved a child. Robert Louis Stevenson said that good writing consists not in writing, but in rewriting. Our way of rewriting 'Mickey' was to take a lot of film and use a little of it." Incidentally, this Mabel Normand seven-part comedy is slated for its initial trade showing in New York after the holiday season. STERLING HEAD IN CHICAGO. Arthur F. Beck, president and general manager of the Ster- ling Pictures Corporation, spent the greater part of last week in Chicago on a deal of a state right nature. "Observation of conditions" is the way sales and exchange manager H. R. Ebenstein explains Beck's trip, though there is reason to expect an announcement of greater details upon his return. McGOVERN WITH W. H. PRODUCTIONS. Elmer J. McGovern has joined the ranks of W. H. Productions Company in the capacity of production editor. He is supervis- ing the completion of the program of twenty-eight two-reel Keystone Comedies. These are considered the pick of the entire Keystone output, and in them are featured the world's famous comedy stars — Charlie Chaplin, Mack Sennett, Sydney Chaplin, Fatty Arbuckle, Mabel Normand, Max Swain, Chester Conklin, Ford Sterling and Charles Murray. W. H. Productions Company, as evidence of its policy to help the independent exchangeman and the exhibitor, created a stir, indeed, among the trade last week by announcing the offer to dispose of this series of comedies at the rate of $80 per reel, with the war tax prepaid. Mr. McGovern, who will supervise the editing of these pro- ductions, has had considerable experience in the industry. He lias occupied the following executive positions: assistant to Adam Kessel of the New York Motion Picture Corporation, general manager for Frank Powell Productions, Inc., and studio and casting director for the Vitagraph Company. He is also author of a number of successful photoplays. Carl P. Lothrop is also a new addition to the staff of W. H. Productions Company. He was born in Braintree, Mass.; was educated in the public schools of Braintree, in Thayer Academy, College of Liberal Arts of Boston University, Boston Univer- sity Law School, of which he graduated with a degree of LL.B.. of 1910. He has practiced law in Boston for the past eight years, and has been connected with big business for the past ten years, having been retained in a special advisory capacity relative to Massachusetts income tax law and the United States income tax law. OLDKNOW RETURNS TO FAMILIAR POST With the addition of William L. Russell, prominent Pitts- burgher, to the executive forces of the U. S. Exhibitors' Book- ing Corporation. Frank Hall, president and general manager of the concern, has completed his organization, as stated else- where in this issue. Mr. Russell henceforward will make his headquarters in the York York offices of the booking corporation, in the Times Building, and will serve as treasurer in place of William Old- know, the prominent southern film distributor, who has been acting in that capacity pending the selection of his successor. Now Mr. Oldknow will transfer his activities again to the South, where he will continue to serve as general manager of the Consolidated Film and Supply Company. He also will have complete supervision over the distribution of U. S. subjects in the territory below the Mason-Dixon line, for which task his long experience in the southern field eminently equips him. By the acquisition of William L. Russel the U. S. will greatly increase the efficiency of its sales forces, for Mr. Russell bears a high reputation in the Middle West as an organizer and developer of large mercantile interests. His familiarity with conditions beyond the Alleghanies also fits him for the impor- tant position he will undertake. All this comes about after Mr. Oldknow had announced his resignation as executive of his southern interests and had received an elaborately engraved testimonial from thirty-nine members of his organization. The return of the popular ex- changeman to his familiar haunts is indeed a logical move on the part of the U. S. Exhibitors' Bonking Corporation. ABRAMSON ASSEMBLING CAST FOR "MORAL SUICIDE." Ivan Abramson, in his new post as president and director exclusive of the Graphic Film Corporation, is at present devot- ing his full time to the selection of the cast that is to inter- pret his gripping, original, seven-reel production, "Moral Suicide.' Extreme care is being exercised by Mr. Abramson in this matter as he is particularly anxious that his first crea- tion for the Graphic company should be as perfect as possible not only as to fidelity of types for the various parts, but par- ticularly in that each performer selected should possess the full quota of unmistakable histronic talent that the respective roles call for. The Graphic head favored the writer with a skeletonized reading of the scenario, and he must confess being very much impressed with the power and vibrancy of the theme. He agrees that the director cannot be too careful in the selec- tion of the talent. The names of some now under consideration- give full evidence that Mr. Abramson intends to mark his independent re-entry to the producing field with an all-star cast. Announcements as to engagements should be forthcoming; before the holidays have passed. HOFFMAN ENGAGES ANOTHER GAINSBORG. Eduardo Gainsborg, who has been engaged by M. H. Hoff- man to take charge of the San Francisco Foursquare Pictures exchange, left last week for his destination. Mr. Gainsborg is one of the recent entrants into the film industry, but his progress has been sufficiently rapid to win his appointment to one of the most important posts in the Foursquare Pictures organization. Mr. Gainsborg is a Columbia College graduate, a man of keen discernment, and his methods will be those of the experienced man of affairs, who applies sane business- methods to the distribution of motion pictures. 102 THE MOVING PICTURE WORLD January 5, 1918 Frank Hall Organization Complete The United States Exhibitors' Booking Corporation a Tribute to His Capacity. ONLY three months ago and in that period expanded into a distributing organization covering the world, with three special attractions already on the market and others soon due. the success of the U. S. Exhibitors' Booking Corpora- tion is a tribute to the energy and business acumen of Frank G. Hall, its organizer. In record time he completed his sales forces to cover the domestic field with special representatives stationed in inde- pendent exchanges in every large city in the United States, after which he contracted with the firm of Robert- son Cole, of New York and London, one of the largest importing con- cerns in the world, to distribute the U. S. output in the foreign territory. Today the U. S. is in direct communication with exhibitors all over the globe, and has set so high a standard in its first group of pictures, embracing "The Zeppe- lin's Last Raid," "Those Who Pay," and "The Belgian," that it has es- tablished itself in the front rank of the inde- p en dent distributing concerns. Mr. Hall's success as a state rights operator in New Jersey impelled him to expand his ef- forts. A year ago he organized the Civiliza- tion Film Corporation in the commonwealth across the Hudson, through which he marketed such productions as "Civilization." "Joan the Woman," "Enlighten Thy Daughter," "The Garden of Allah." "Beware of Strangers," "On Trial," "The Bar Sinister," and others. The growing demand among exhibitors of his State for spe- cial productions to show at intervals in their theaters for the purpose of stimulating business, impressed Mr. Hall with the need for a concern that specialized in such productions. The outcome was the formulat'on of the U. S. Exhibitors' Booking Corporation. At present it is the intention of Mr. Hall and his associates in the booking corporation to distribute about twelve such producions a year. Frank G. Hall. HUGHES VISITS MANHATTAN. M. C. Hughes, district manager of the Metro Film Service, Ltd., with headquarters in Montreal, Canada, spent three days last week in New York. He was in conference with the home office of Foursquare Pictures, whose Canadian exchanges — operated in conjunction with those of the Metro Film Service — are being cared for by J. J. bnger, general manager of that organization. "Foursquare Pictures may regard with satisfaction the pros- pective business which we are lining up in Canada," said Mr. Hughes. "Its features are of a quality which the Canadian exhibitors and public desire, and we expect a satisfactory volume of business for the coming year." FRANK SENG SENDS CHRISTMAS MESSENGER. The trade undoubtedly paid more than passing attention to the Parentage Messenger Christmas edition, which was last week circulated from the offices of Frank J. Seng, exploiter of "Parentage," the production with a purpose, produced by Hobart Henley. The eight-page holiday booklet is the work of Victor B. Johnson, general advertising manager of the Seng enterprises.' and only goes to reinforce the reputation for able work that this gentleman enjoys. LILLIAN WALKER SIGNS WITH CREST. Lillian Walker, star of "The Grain of Dust," now being sold on the State Rights basis, has just signed a contract, by ar- rangement with Lester Park, with Carl E. Carlton, president of the Crest pictures, to make four more productions. Miss Walker will begin work as soon as the first of the four scen- arios is determined upon. GARFIELD REPORTS SUCCESS. Herman J. Garfield has taken occasion to advise the Moving Picture World that he is meeting with success in his lour throughout Ohio, Indiana, and Kentucky, in behalf of the "Submarine Bye," which is controlled in that territory by the Submarine Film Corporation, of which he is general manager. SPECIAL SALES-DRIVE ON "MOTHER." A vigorous sales-drive has been inaugurated for the George Loane Tucker production. "Mother," by the departure from New York, this week, of Herbert Lubin, Harry G. Kosch and M. R. Fink, of General Enterprises, Inc., which firm controls the territorial distribution for the six part state rights offering. Mr. Lubin left New York Monday afternoon, December 17, for Chicago and further across the continent to California. The G. E. executive has established headquarters at the Sher- man House in the windy city and arrangements for a special showing have been made there on December 19. Elisabeth Risdon, star of "Mother," at present playing a leading role in "Misalliance," played Chicago last week, and Mr. Lubin took advantage of the coincidence to have the young star appear at the showing. Harry Kosch also left the city Monday, bound for Boston. Mass., where he will preside at several screenings of the George Loane Tucker production and close contracts for the New England territory. Mr. Fisk, at present in the South, reports widespread interest in the Tucker picture and is also taking care of the arrange- ments recently completed whereby "Mother" will be shown in the various penal institutions as an aid in the uplift work now being vigorously pushed by many prison authorities. During the absence of Messrs. Lubin, Kosch and Fink from the offices of General Enterprises, Inc., Arthur H. Sawyer is looking after the interests of the pictures controlled by the firm, namely: "The AVarrior," "Mother" and "The Liar." "BIRTH OF DEMOCRACY" SPECTACULAR. A pretentious form of advertising and publicity will be con- nected with the release of "Birth of Democracy." Franko- American's spectacular film, which has been bought for New York state and northern New Jersey by the Merit Film Corp. A special showing of the film will be given the first week during January at the Theatre Francaise, New York, and some of the most prominent foreign government representatives, as well as American administration representatives, are being invited. Large publicity in the dailies throughout the country is being arranged for, especially because of the fact that some of the foremost editors have expressed the desire to give this production enthusiastic support, considering the picture both from the patriotic as well as entertainment standpoint. In the metropolitan district the Merit Film Corporation is making special arrangements between the exhibitor and the public school to give special morning and matinee perform- ances in the respective districts where the schools are situated. The picture, from its dramatic value should, of itself, make a wonderful success. Lydia Borelli, having the leading part, is so well known as a star of clearest lustre, that her appear- ance in the picture itself would guarantee the dramatic work. The objection that several would raise of its being a foreign picture, in this case will be entirely discarded, because 'the picture of necessity must needs have been made in foreign countries, for the settings, the streets, the building, and all connected therewith, being chiefly Parisian, and of such sub- urbs as are around Paris, made it a matter of necessity to take the picture in France. "THE STRANGER" NOT A PROSPECTOR. The January first release of the King-Bee Films Corpora- tion, starring Billy West, is to be called "The Stranger" instead of "The Prospector," as previously announced. In this picture Billy West will be seen in some new stunts, according to President Burstein, that will prove a genuine novelty in comedies. This is the second comedy made by the King-Bee company in California, and is said to be as funny as "The Slave," which is claimed the best release made by this company since it started making two-reelers. Billy W T est and his associates went into the Rockies to screen "The Stranger," and what Director Gillstrom made poor Billy do caused him to take "osteopathic" treatments for ten days. ELLMAN MANAGER OF WOLFBERG HEADQUARTERS. J. L. Ellman, for the past few months publicity director for the Harris P. Wolfberg Attractions, has been appointed man- ager of the home office, Pittsburgh. He succeeds Howard Stahler. who is in Maryland opening up that territory with "The Crisis." The Wolfberg Attrac- tions now also distribute "The Mad Lover." "To-Day." "Per- suasive Peggy" and "The Deemster." "THE SLAVE" WITHOUT SUB-TITLES. The King-Bee Films Corporation announces that their first picture made in California, entitled "The Slave." is so funny and the story so easy to follow that sub-titles might hurt the action, and they will release this latest Billy West King-Bee comedy without any sub-titles whatsoever. It has been conceded by all authorities that sub-titles are of great importance in the presenting of a film story, and here is one instance where the action and the humor are said to dove-tail so perfectly that sub-titles are of no help. January 5, 1918 THE MOVING PICTURE WORLD 103 "Triumph of Venus" Soon Seven-Part Production Bearing Classical Greek Theme Will Introduce Betty Lee to Stardom. EDWIN BOWER HESSER, general manager of the Victory Film Manufacturing Company, is buily engaged with the presentation of "The Triumph of Venus," starring Betty Lee. The story itself deals with Grecian gods and goddesses. fair nymphs and natural and super-natural beings. Captain Hesser, in addition to producing this spectacular seven-reel photo drama, is its director and author. Although this story was written several years ago, Hesser did not undertake to produce it until he found a girl suitable to portray the character of Venus, and, in the selection of Betty Lee he claims "to have discovered a mod- ern Venus de Milo. Sup- porting Miss Lee in this photo-drama are William Sherwood, Phyllis Bever- idge, Hassan Mussalli, Grace Hamel and Baby Bonnie Marie Katz, who plays the part of Cupid. The company of nymphs consists of a bevy of pretty girls. All are ex- pert swimmers and per- fect specimens of woman- affolM hood. This is Captain Hesser's second production of the year, the first being "For the Freedom of the World," which was pur- chased and exploited by Goldwyn. Mr. Hesser, who is but twenty-four years of age, has had a varied career and has traveled the world over. When a mere boy he held positions as dramatic critic on several dailies in New Jersey. When wireless was the craze he became an associate editor of the Aerogram. This post gave him an opportunity to write stories of travel as he went from place to place. With the coming of the motion pic- ture Captain Hesser entered the silent drama industry. At one time he was the press representative of the Kinemacolor Com- pany of America and manager of the Kinemacolor theater in New York. From publicity work Hesser entered the scenario writing field. He next learned the motion picture camera and became an assistant director. Soon he entered the field for him- self. Realizing the value of publicity in the motion picture field he soon organized the Hesser Publicity Bureau, which handled the road tours of the Boston Opera Company and the Royal Cwent Chorus from Wales. With the sinking of the Lusitania Captain Hesser dropped his commercial work and entered the Canadian army. Rejected at first because of physical unfitness, he remained in Canada, and owing to his ability to campaign and organize was com- missioned lieutenant in the 212th Overseas Batalion. His abil- ity was soon recognized and he was made a captain and ap- pointed Brigade Director of Recruiting and Publicity for the American Legion. This strenuous campaign again brought on ill health, which prevented his engaging in active duty in the present conflict, and brought him back to civilian life. While in Canada the Hesser Bureau was devoted chiefly to recruiting campaigns, but Metro pictures were also introduced in that territory in a six-months' campaign mapped out by the Cap- tain, who further announces that the next production of the Victory Film Manufacturing Company, following "The Triumph of Venus," will be a patriotic super-feature entitled "For the Glory of the Stars and Stripes." Edwin Bower Hesser. FARNHAM REPORTS PROGRESS. The alliance of independent manufacturers, namely, the Ivan, Frohman Amusement, High-Class, Triumph and Ogden com- panies, who through their spokesman, Joseph H. Farnham. ad- dressed the joint exhibitors gathering in Washington on De- cember 12, as recorded in our last issue on pages 1919 and 1967, with a manufacturer-exhibitor joint co-operative booking proposition, has been in frequent session with the heads of the two exhibitors' bodies, namely with Lee Ochs and Louis Blu- menthal of the M. P. E. L. of A., and Charles Pettijohn and Frank Rembusch of the A. E. A., during the past week. No decisions have as yet been announced but should be forthcom- ing very shortly. Sales of the Week Herebelow a Compendium of the Selling Activities Recorded in the State Rights Market the Past Seven Days. WH. PRODUCTIONS COMPANY is maintaining its rec- . ord in the consummation of sales on their product. During the past week the following deals have been made: To Tom Moore. Washington, the rights to the second and third Hart features, viz.: "The Bandit and the Preacher" and "The Hell Hound of Alaska" for Delaware, Maryland, Dis- trict of Columbia and Virginia; To A. Dresner, Exhibitors' Film Exchange of Washington, the rights to Wm. S. Hart as "The Two-Gun Man," in "The Bargain," for Maryland, Dela- ware, District of Columbia and Virginia; To Masterpiece Film Attractions, Cleveland, Leon D. Netter. manager, the rights to Wm. S. Hart as "The Two-Gun Man" in "The Bargain," "The Bandit and the Preacher" and "The Hell Hound of Alaska," for the State of Ohio; To the Keystone Distributing Corporation of Philadelphia, the rights to William S. Hart as "The Two-Gun Man" in "The Bargain," "The Bandit and the Preacher" and "The Hell Hound of Alaska" for eastern Pennsylvania; To T. E. Larsen, Oklahoma City, the rights to Wm. S. Hart as "The Two-Gun Man" in "The Bargain" for Texas, Oklahoma and Arkansas. * * * A. Weinberg and Maurice Fleckles, of the Renowned Pictures Corporation, announce the closing of the following deals in which the Harry Raver production, "The Public Defender," is the central figure: To Reginald Warde. exporter, 729 Seventh avenue, the rights for the world, exclusive of the United States and Canada, and to Hirman Abrams' exchange, the Boston Photoplay Company, Boston, for the six states of New England. * * * The Ivan Film Productions, Inc., announce the following state right sales this week: To the Libej-ty Film Renting Com- pany, for western Pennsylvania and West Virginia, "Babbling Tongues" and "Sins of Ambition"; to the Eastern Feature Film Company, for New England States, "Human Clay" and "Sins of Ambition"; to the Merit Film Corporation, for New York State and northern New Jersey, "Human Clay" and "Sins of Ambition"; to the Electric Theater Supply Company, for eastern Pennsylvania, southern New Jersey, Delaware, Maryland, Dis- ■ trict of Columbia and Virginia, "Human Clay"?"' to Peerless Feature Film Exchange, for eastern Pennsylvania, southern New Jersey, Delaware, Maryland, District of Columbia and Virginia, "Sins of Ambition." • * v * Almost simultaneous with the announcement that Renowned Pictures, Inc., had purchased the United States and Canadian rights to the Keenan-Edeson-Hanlon production, "The Public Defender," comes the report from Messrs. Weinberg and Fleckles that Walter E. Greene has secured the rights to the Raver picture for Greater New York and the entire state. Modern Feature Photoplays, Inc., Greene's New York exchange, of which Charles Streimer is manager, will release "The Public Defender" by January 1 if possible. BRENON PRODUCTIONS START 1918 AUSPICIOUSLY. By the first of the year three big special features which Herbert Brenon has made will be launched simultaneously throughout the country. "The Fall of the Romanoffs" opens in New York in January and will be exhibited throughout the state for the first three months of the year. During that time it will also start its drive throughout the United States. "Empty Pockets" will be released during January at the most important houses on the First National Exhibitors' Circuit, followed by runs in every state in the Union. "The Passing of the Tl.ird Floor Back," with Sir Johnston Forbes-Robertson, which has just been completed at the Brenon studios, will be shown for the first time publicly in New York next month, following which it will be generally released. These three pictures are entirely different from each other. "The Fall of the Romanoffs" deals with history. It proves the theory of the value of the screen as a historian, making realities live before one's eyes. It is being state-righted. "Empty Pockets" is a melodrama, adapted for the screen from the novel by Rupert Hughes. The third picture, "The Passing of the Third Floor Back," presents for the first time Sir Johnston Forbes-Robertson, the noted English actor, who came to America for the sole purpose of appearing in the screen in Jerome K. Jerome's drama. "The Passing of the Third Floor Back" is a timely offering. It carries a noble message to mankind. It brings a ray of hope and kindliness into these troublous times. TOLMAS SUCCEEDS GILMAN. B. R. Tolmas, a prominent Pennsylvania film man, has joined the sales force of the U. S. Exhibitors' Booking Corporation in that district, having charge of the marketing of U. S. subjects in Eastern Pennsylvania. He succeeds F. H. Gilman, who will assume charge of another territory for the same concern. COAST GETS "ZEP" SPECTACLE. The Pacific Coast will have its first view of "The Zeppelin's Last Raid" at the Mack Sennet Theater, San Francisco, shortly after the first of the year. The fame of the new Ince produc- tion has spread rapidly beyond the Rockies, and special repre- sentative James Gausman, for the coast district of the U. S. Exhibitors' Booking Corporation, reports heavy bookings. The engagement at the popular San Francisco theater will be made the occasion of a festival, The Sennett theater has obtained the first-run privilege to the Ince production. It is understood that following the show- ing in that house the picture will be released to all exhibitors on a wide-open booking policy. lv#)i THE MOVING PICTURE WORLD January 5, 1918 ♦ g- g» °:~*~'!£ -^ °js< g| g -a -s »g -js »a S§ °s •'fe -!a « Pi « Manufacturers' Advance Notes g.° g- g° g» g« g« *g° g» g? g? g» g- g» g° g° g« ♦ ♦ ^ »3 P9 °S -^ 'S «3< °S °S »5 S> »S °S ° S -S »2>» 77ie "S&n Invisible" Sold Edgar Lewis Disposes of His Latest Subject to the First National Circuit. AFTER a busy and enjoyable summer's work up at Lake George during which time they made two features, Mr. and Mrs. Edgar Lewis, looking tanned and strong, are back in New York for the brief stay necessary to closing the sale of one of the negatives to The First National Exhibitors Circuit. Mr. Lewis is justly proud of the fact that he is one of the few 'directors producing entirely on his own capital. "The Bar Sinister" was his first picture under his own banner, but he is well known to the trade as the man behind such re- leases as "The Barrier," "The Great Divide," "The Nigger" and many others as well known. The production just sold to the "First National" is from an original script by Anthony P. Kelly entitled "The Sign Invisible" and is built on a big theme — the dominant and ever pres- ent powers of Providence and Nature. The locale of the story is the Canadian Northwest — land of tower- ing mountains and human men and women. Into these surroundings wan- ders a heartsick, embitter- ed man of the world who has lost faith in himself, renounced his Creator and learned to despise man- kind. The story of his chastening is dramatically told by a big cast headed by Mitchell Lewis, who was Poleon in "The Barrier"; Victor Sutherland, Edward F. Roseman and Mabel Ju- line Scott will be recalled as having had prominent roles in the same play. Speaking of his summer's experiences Mr. Lewis said: "We built our town at Black Point on the shores of Lake George, where we did "The Barrier." It was pioneering with a vengeance. We had to erect not only our sets but living quarters for all hands. We installed our own power plant, electric light and water system. Our post office, Fort Lewis, was officially recognized — we had telephones and everything — except politics and police." Aaron Jones, of Chicago, and Robert Lieber, of Indianapolis, li"th came to New York to pass judgment on "The Sign In- visible" before the big deal was completed. Mr. and Mrs. Lewis are shortly leaving for a rambling vaca- tion trip through the South and West. A visit to the pro- ducer's birthplace in the "Show Me" State will break the jour- ney which has California — which Mr. Lewis has never visited — as its objective. Edgar Lewis. FAMOUS PLAYERS TO MAKE "LA TOSCA." After much time spent in negotiations and elaborate prep- arations for the production, the Famous Players-Lasky Cor- poration announces it has secured "La Tosca," and that Pauline Frederick will appear in the role of Floria Tosca. It will be a Paramount picture and will be done on a most elaborate scale of excellence. It would be difficult to find, in the whole range of drama and opera, a piece that has won more signal renown than "La Tosca." Written by Victorien Sardou upward of thirty years ago expressly for Sarah Bernhardt, it was in this play that she made one of the greatest successes of her career. It was recognized far and wide as a play of extraordinary power, inasmuch as it possessed dramatic intensity of the most compelling and enth~\lling character, and also because it reflected the high lights of human passions. The possibilities of "La Tosca" as a screen drama can hardly be overestimated. It is as perfectly adapted to the films as if at had been written for them, because it is one thrill on top of another, emotional in the extreme, and with opportunities for 'every member of the cast. Many "O. Henrys" for New Year Four Directors Hard at Work East and West on Future General Film Releases. ONE of its numerous series successes which General Film Company will continue to release during the new year will be the Broadway Star Features "O. Henry" stories now nearing the close of their first year. According to present plans, these features will be continued for some months to come, as there is still a large number of the "O. Henry"" stories capable of being adapted for picturization. Ambitious plans are now being worked out for an extensive "O. Henry" program of entertainment for the great army of followers of the "O. Henry" pictures. The enormous increase in the demand for these short length features has made it necessary to keep four directors and as many companies busy producing them. Three directors, Ashley Miller, Martin Justice and George Ridgewell, will continue to produce these stories in the New York studios, while on the west coast Director David Smith is at work on a new series of Western and Central American stories by the famous author. Some of the "O. Henry" stories to be released at an early date, according to present plans, are "The Clarion Call," "The Hiding of Black Bill," "The Fifth Wheel," "The Moment of Victory," a story of the Spanish-American war; "The Count and the Wedding Guest," "The Thing's the Play," "The Compliments of the Season" and "The Trimmed Lamp." Many others are being adapted for the screen and will be ready for production shortly. General Film Company expects to begin the new year with a program of "O. Henry" stories which will excel the many popular successes released last year. No other series of short length features in many years has scored such a success as the "O. Henry" pictures, which are continually adding to their fame as box-office attractions. JEWEL CARMEN IN NEW FOX PRODUCTION. C. M. Franklin is now directing Miss Jewel Carmen in a new William Fox production with an Alaskan locale. Work was begun last week at Hollywood, Cal. Miss Carmen's first pro- duction as a star, "The Kingdom of Love." released December 23, was made under the direction of Frank Lloyd, who directed the William Farnum de luxe production, "Les Miserables," now bein.j shown at the Lyric theater. New York. Mr. Franklin, with his brother, S. A. Franklin, has been con- ^^^ t J i c jH ■3T *Sn*4fji At f >'^H HvSMBw J! < 1 liiolf ' fl Scene from "The Kingdom of Love" (Fox). fined since his association with Fox principally to the direction of the Francis Carpenter-Virginia Lee Corbin and the Georgie Stone-Gertrude Messinger companies, making such productions as "Jack and the Beanstalk," "Aladdin and the Wonderful Lamp." and pictures based on the story of "The Mikado" and "Ali Baba and the Forty Thieves." Francis Carpenter and Gertrude Messinger are included in the cast of the new Carmen production, as are Carmen De Ru and Lloyd Perl. January 5. 1918 THE MOVING PICTURE WORLD 105 Coldwyn Completes First Year Will Celebrate Opening of Second Twelvemonth by Release of "Thais" — Another Star Coming in Spring. ALTHOUGH slightly more than twelve months old, Goldwyn is but one third that old in a releasing sense, with eight Goldwyn pictures thus far presented for public patron- age. The first eight months of the company's history were devoted to organization and production. This time spent in advance preparation enabled Goldwyn to spring full-fledged into existence, with a number of completed productions on its shelves and completely eliminated rush work on productions to enable the makers to release well-rounded instead of hur- riedly completed pictures. Coincident with the attainment of its first birthday Goldwyn is releasing on December 30 throughout North America its greatest production and its most celebrated star — Mary Gar- den in "Thais" by Anatole France. This marks Mary Garden's first appearance on any screen and is the highest achievement technically and dramatically of the new company. "Thais" represents a new note in production, and Miss Garden on the screen turns out to be the same sensational success that she had been on the operatic stages of two continents. Goldwyn in its first year established close relations with a score or more of America's most popular and successful au- thors and playwrights, who did not stop when they had sold their novels or manuscripts to the organization, but followed their stories into actual production to help impart to them the solicitous care and many refinements which have been apparent in all of the pictures thus far released under the Goldwyn imprint. Long before the completion of "Polly of the Circus" and its release in September, Goldwyn had organized the Goldwyn Distributing Corporation and dotted North America with its offices, through which are now handled not only the Goldwyn productions but special productions of other individuals or companies wishing to avail themselves of the selling capacities thus afforded. Goldwyn Distributing Corporation today operates offices in nineteen American cities; Goldwyn Pictures, Ltd., of Canada, operates offices in six cities of the Dominion; Goldwyn repre- sentatives have opened offices for the organization in Aus- tralian cities, and at this moment England is witnessing the entry of the Goldwyn productions into the theaters of the United Kingdom. In the year ahead Goldwyn will be an even more active producer than in the first year of its existence. In addition to its group of popular stars, embracing Mae Marsh, Madge Kennedy, Mabel Normand, Mary Garden and Jane Cowl, an- other star of world-wide fame will enter the Goldwyn studios for the first time early in 1918, arid still other stars are to be announced before spring. An average of four companies will be kept at work constantly in the big Fort Lee plant which is under lease to the company. In every sense Goldyn is satisfied with its first year's achievements and with the business returns therefrom. It is a well-adjusted, smoothly-organized mechanism capable of still bigger things and it foresees in the coming year a great improvement in business conditions and public patronage which will mean enlarged returns for exhibitors and itself. STRONG SUPPORT FOR BEBAN IN "JULES." Many of the best players in the Paramount roll have been assembled for the supporting cast of George Beban's starring vehicle, "Jules of the Strong Heart," which is to be released by Paramount, January 14. Jules Lemaire, the title role portrayed by Mr. Beban, the Lasky star who has scored tre- mendously in the past in delightful Italian character roles, is a good-natured, singing, happy-go-lucky French-Canadian trapper. Jules is seen in the atmosphere of a lumber camp in the big north woods, surrounded by an interesting group of rough, but stout-hearted, men of the timber lands. Raymond Hatton appears as Ted Kendall, timekeeper of the camp, of a higher type than the lumberjacks, but inured to the life of the big woods. Charles Ogle is the boss of the camp, Tom Fransworth, a large, stalwart lumberman, competent, powerful and firm, but just. Guy Oliver plays the heavy char- acter, Big Jim Burgess, a rough and overbearing lumberjack, crafty and cunning in his dealings with men, and caveman-like in his wooing of the boss' daughter. Ernest Joy is Jack Ligitt. a coarse, rough type of lumberman, leader of discord. Horace B. Carpenter appears in a more likable role, that of Reddy, a rough and uneducated lumberjack. Edward Martin is the Factor, head of the Hudson Bay trapping colony, a large man of rough, rural type; while James Neill appears as Sommerville, a trapper. "THE CLARION CALL" RELEASED. One of the snappiest and brightest of the "O. Henry" stories released in many weeks is "The Clarion Call," one of the cur- rent releases of General Film Company. This is a story of New York in which a detective and a crook engage in a game of wits which results in a surprising last-minute victory for the former. Walter McGrail, Bernard Randall and Alice Terry are fea- tured in "The Clarion Call," which is the first "O. Henry" pic- ture in which the latter has appeared. "The Hiding of .Black Bill," a dramatic story of a Western sheep rancher and a desperado, will follow "The Clarion Call." Edison Will Release Flagg Pictures Twelve "Social Satires" to Be Released as Edison Perfection Pictures. JAMES MONTGOMERY FLAGG has thrown his combined genius into a series of what he calls twelve "social satires," twelve humorous stories involving twelve attractive Amer- ican girls. The stories are being produced in the form of a single-reel motion pictures under Mr. Flagg's personal direc- tion, at the Edison Studios, and are to be released separately under the general title, "Girls You Know." Mr. Flagg's recognized ability to paint truly feminine girls is an assurance that the stars he has selected to enact the types in his series of satires will in each case be truly attrac- tive. The first picture of the series, "The Screen Fan," will be ready for release on January 2, and will be followed on January 16 by "The Bride," and on Janu- ary 30 by "The Super- stitious Girl," with succeeding releases at two week intervals. Some of the remaining subjects to follow are, "The Man Eater," "The Blase Miss," "The Gold Digger," "The Regular Fellow" and five oth- ers. The humorous situations in the pic- tures are made even more laughable by the sub-titles which will be recognized as typ- ical of Mr. Flagg's wit. One of the interest- ing attractions in con- nection with the se- ries are the posters re- produced from orig- inal water color draw- ings drawn from life by Mr. Flagg, of the twelve girls featured in the satires, and in addition to these drawings, the Goldberg Studios have made a group of highly effective photographic poses of the stars, prints from which will also be available for lobby display. The series will be released as Edison-Perfection Pictures and distributed through the George Kleine System. Jas. Montgomery Flagg. "HELL'S CRATER" (Universal). W. B. Pearson's romantic narrative, dealing with events in "the days of '49," has been produced and directed by the author with Grace Cunard the star, and will be released as Universalis rive-reel offering to exhibitors for the week starting Jan 14 Director Pearson took his company as far into Death Valley as prudence warranted to make the scenes of desolation and barrenness that are necessary to many incidents in the story. Scene from "Hell's Crater" (Universal). Supporting the star, George McDaniel will play the leading role with Ray Hanford and Eileen Sedgwick prominently in- volved in the action. Dance hall and gambling scenes, meth- ods employed in winning gold from the earth, and several sensational "fight" episodes are promised to put a "punch" into the melodrama that matches the nature of the offering. 106 THE MOVING PICTURE WORLD January 5, 191S Mutual 's New Year's Schedule Edna Goodrich Heads the List in "Her Second Husband" — Other Interesting Numbers. EDNA GOODRICH, famous beauty and star of the speaking stage, is announced by the Mutual Film Corporation in the photodrama, "Her Second Husband." in the New Year's schedule of releases. The play, which was filmed under the direction of Dell Henderson, is said to afford Miss Goodrich the most sympathetic role in which she has yet appeared on the screen. The cordial reception accorded the other Goodrich productions, "Reputation," "Queen X," "A Daughter of Mary- land" and "American Maid,'" augurs well for this latest picture. It is available December 21. In the supporting cast are such capable actors as William B. Davidson, Richard R. Neill and Miriam Folger. Billie Rhodes appears January 1 in a hilarious Strand comedy, "Her Awful Fix," which will bring many a laugh from below the diaphragm. The story concerns Mary, who rejects the matrimonial advances of a young doctor to marry Tom. On her wedding day she becomes quarantined in her chum's house when the young doctor pronounces a case of prickly heat to be smallpox. The complications that ensue are exhilarating and amusing, but all turns out happily when an older doctor gives a true diagnosis. The Mutual Weekly is replete with topics that are timely, covering incidents and events of international interest, keeping pace with the kaleidoscopic changes that are making world history. As a sample of the timeliness and efficiency of the Weekiy can be cited the fact that James Barr-O'Neill, Gaumont-Mutual cameraman, got into Halifax, N. S., and took 500 feet of film covering the worst aspects of the disaster, arriving in New York twenty-four hours ahead of any competitor. Mr. O'Neill was five miles from the harbor front at the time of the explosion, at the house of a friend, the windows of the house being shattered and several occupants cut with glass. His camera was buried in the debris of his hotel, which was wrecked by the explosion, but he succeeded in putting it in working order and getting some thrilling pictures. This is an added- feature of the Weekly released December 17. The release of December 31 will be just as up to date on current affairs. GENERAL FILM RELEASES JUDGE BROWN STORY. '"Bud's Recruit," a timely patriotic story in which "Bud" wins a recruit for his country in the person of his older brother, a slacker, is the first and current release in the series of nineteen of "Judge Brown Stories" to be released by Gen- eral Film Company. The novel manner in which the young patriot serves his country makes this two-reel subject a timely feature for the average exhibitor's program, and sets a fast pace for the succeeding subjects in the series. Advance inquiries received by General Film indicate that the "Judge Brown Stories" will be most popular because of the appeal they will have to women's organizations and individuals interested in ob- taining clean pictures. With the exception of the first release, the "Judge Brown Stories" are founded on real incidents noted by Judge Brown in his long fight on behalf of his great army of juvenile friends. i l 1 N J ^ ►