Evening Star Newspaper, May 21, 1922, Page 62

- ey R Q- 15 « Alleen Stanler's pearis. ENORE DE WITT EBY. »n F dding . for June is the present momen just around s focused on | the corner 1 prospective brides ave trying to settle’ the difficult probiem | of what to wear. It was of more than usual feminine interest. there- fore. thy cal theaters presented two lovely bridal costumes the past week ALK . Miss Ethe pe. the gown ske the ouce-popuiar “Honeymool sung White satin formed the dium of the creation, while the o the newe of lace. t the bae long train of fiimy whit blouse of the gown wus rather the waistline v low. siecves were finished with satin ng. so thal they hinted at t otd-fashioned puffed sleeve . while the neck was rounded and collariess. Ga panels of satin hung at each side of the skirt, which and at tie ce apron-like flour cessive friils of satin quet was of orchids, ca a large satin Dorothy “Wedd k was The br ught together hride Siinbe of un - gown in foun: | blue and gra Mins Ethelyn Clark's weddin, worn at tion was incrusted with sequins in an intricate design. w almost entirely obscured the lustrous material. Long flowing sleeves of plain white chiffon added a touch of contrast to its brilllancy. how- ever, while folds of misty white tulle dropped over the jeweled edges of the gown. Her veil was of tulle. caught at the back in a high ruching, and held to the coiffure by a band of narrow white satin ribbon. It was nteresting to note that there was court . neither of satin nor rumored that the uitra-modern bride will dispense with the formal drapery this season. and those in the audience who cxpect to march to the altar opportunity of judging the effect and eciding whether the the long. swirling folds sidered so essential first appeared in the crepe frock which is had a bateau rin sleeves of d with Auffy marabou. The skirt ands of taupe flared decidediy over its gray founda- | | tion, and at the lower edge it, too. was finished with marabou traced design of white beads and blue stitching was appliqued just above the bordes in the center front and center back. and twisted ribbons of at the waist offered a harmonizing color touch. MiGrew's hat was of gray felt, w a narrow upturned brim faced gray feather fronds. A cluster of Will Fight Movie Humbug HE public is no longer to be lured with the thought that it is to see a big new production oniy to find the program an inferior imitation of a blg and successful new production, if Thomas H. Ince can help it. Mr. Ince haa announced that he has determined to fight to rid the business of this species of gold bricking. He has issued a call to the raspectable and responsible elements of the busi- ness to annihilate the very small por- tion of the indust to collect a few dishonest d hurriedl importation or a rcvived antique, to be exploi'ed upon the reputation of a new success. Mr, Ince has applied the name “leech pictures” to this particular type of producticn, and calls the ex- ploitation of industrial maipractice, “This sort of thing is just plain gold bricking.” sal@ Mr. Ince. in dis- cussing his fight, “and our business is too big, too important and too re- sponsible to permit a few dishonest people to give It a deliberate black eve. ot long «go, when Douglas Fair- banks released his production. ‘The Three Musketeers. they dug up an old picture of mine, produced under the title of ‘D'Artagon.’ and exploited 1t as ‘The Three Musketeers. My picture was a gwod pleture in its day. but it had been made before the pres ent development of pictures and at a small fraction of the cost of the Fair- banks production. Unfortunatels, control of the picture had passed out just as control of one | pulous of Mr. Fairbanks' old pictures had passed out of his hands. hese people—I admit they were clever—put out my old picture and an old Fairbanks release. and advertised them so that all you could read was ‘Douglass Fairbanks' and ‘The Three Musketeers.’ “We have come to a place in the development of motion pictures where the bigger producers are fllming the classics of the world's libraries, on many of which the copyright has ex- pired. Nothing prevents the unsc from importing a cheap ¥ ture from abroad or reviving an old- timer under the same title, and put- ting it out in competition to a new C pensive release. o - instanee, Mr. Maurics Tour- neur, the eminent producer, has just | about finished a_magnificent produc- ductions of this type, tion of ‘Lorna Doone.’ Several at- tempts have been made to film ‘Lorna | Doone’ in the past. both here and abroad, but never before has a di- rector of real abilify undertaken it in a big way. “The public is entitled to a chance to see real productions from the great stories of all time, but no big pro- ! ducer will undertake them so long as thie danger of near piracy exists. I happen to kmow that there are at least two versions of ‘Lorna Doone’ on the shelves, being held until the new Tourneur production is put out. “We are going to clean this form of malpractice out of the busimess and we are going to use drastic measures if necessary. “The picture b ness itself will see to it that the picture public is no| longer buncoed A Circus Picture FTER traveling with Howe's cir- | be one of the unusual dramas of next cus for ome week during filming of scenes for the Ince feature, gouthern Canada communit Someone to Love,” Madge Bellamy, | ar Cullen Landis. Noah Beery and other | members of the company have re- the | Season’s releases in that. although all {hjs story. in lieu of a straight salary the scenes ‘are laid in a backwoods y, there no ice floes, dog teams or barren icy wastes; meither are there ball- room scenes nor any touch of cosmopolitan life. The hero of the turned to the Ince studios, declaring [ story is a curcus elephant, Oscar. the circus “location” fo be the most unusual of their careers. The Wray company circus at San Jose, throughout joined the and from there the entire bay district Under the direction of John Griffith | gcenes were taken day and night, in- Wray, left weeks the, ago company for the several cluding the tearing down of the “big Santa Cruz | top” and the early morning arrival at mountains to flim exteriors for the|the new circus grounds. story and to. await the coming of Howe's circus to the San Francisco|in- their various acts, bay district. The story, by C. Gardner Sulliva is written "about: the “elephant girl with a small tiaveling circus. It will ‘The screen players were rehearsed ‘which™ -were niade fo appear a part of the circus, until the most of the circus crowds believed the screen players were in reality a part of the circus. Didn’t Chang Ade’s Stuff (~EORGE.ADE " h; fense of the movies. Most autbors ery that the motion pletufe companies change their stories and ruin them,‘but Ade says they didn’t.change his “stuff” on Him. After-seeing = finished print of “Our Leading Citisen” at hls Indiana farm, he wrote the following lgiter to Jesse L. Lasky, first vice president of the Famous Players-Lasky Corporation: “Tom Meighan and Al Green have just brought to.me the completed pic- ture called ‘Qur.Leading Citizen.” B come to the de lieve me, I &m very happy over the' manner in which .yoil have treated my material. Hbre is one author who will mot dare to complain that they changed Rhis ‘stufl’ on.him. “In this play, written for Tom Meighan, we tried to get in some com-~ edy and some drama and some real American characters- without resort- g to any sex complicatiens-or d ¥ f villdiny.or'gun pl: In other word we- tried to do something different— something on the order of ‘The Col- lege Widow' and ‘The County Chair- man,' which the public liked several Vears ago. “1 wrote the play in the hope. that thé patrons of picture houses were ready for a change from the highly seéasoned photodramas which they seem- ed to like two or three vears ago. “Yétr have given the play a fine cast and a-first-class production, and for these, as 1 have already sug- Eested, { am very grateful.” In commenting on the Ade picture. Thompson Buchanan, the well known playwright, now a supervising direc- tor at the Lasky studio, said: “If there is ‘any litérature of the in June had an ! wish 1o do 80| A finely | in | | y McGrew's afterneo frock of gray georgette. worm at thi | sShubert-Garrick. d blue and gray uncurled ostrich plumes at one side added an exceptionadly |attractive trimming. | ;Miss Wanda Iyon. as a charming | divorcee, wore several stunning crea- | | tions. and also a luxurious wrap of | | mink fur. Her second-act gown was | of white satin heavily beaded in seed | pearis and crystals. The sleeves were | long and scalloped, as was also mel hem of the short skirt. A bandeau ! | of white folded silk was twined about ; ! her blond hair to form a simple and | vet becoming coiffure. while a jade pendant was the only piece of jewelry worn Her evening wrap was a gorgeous affalr, which resembled a huge beaded purse, for it was entirely covered with glitiering beads in a colorful motif. The collar was of marten fur. partially veiled by a | flounce of gold lace. and additional filmy metallic trimming appeared as an edging for the lower part of the | cape. H | Miss Aileen Stanley. the “phono- | graph girl” at Keith's. wore the dinner gown pictured at the left of the accompanying sketch. Pale flesh-colored satin crepe was used as a background for an all-over pattern woven from strings of pearis. Deli- cate sprays of silver flowers appeared at each side of the skirt as a grace- | ful trimming, and from them long ! showers of pear] strings were su pended. %o that there was a Bugge! tion of fringed panels. The sleeve- | less bodice cut to include shoul- | der -straps and the girdleless skirt | was rounded iuto scallops at the hem. | [ Midestoneniof the Sereen)| i | THOMAS EDISON invented me; | kinetoscope-motion pictures in al | peepehow in 1889. | Thomas Armat invented the first! successful machine for projecting | { motion pictures on a screen in 1895. “The Electric Theater.” in Los Angeles, operated by a man named | Tally. the first theater devoted ex | clusively " to motion pictures, jdrama in 1912 | | Adolph Zukor. with his famous | | players in famous plays, initiated the present era of motion picture feature drama in 1992. J. Stuart Blackton ts said to have! produced the first natural colori drama. ‘“The Glorious Adventure.” under the Prizma patents of William Van Doren Kelley—greeted as an un- precedented triumph—at the Roval| Opera House, London.. with an | American premier presentation b iRothafel at the Capitol Theater, New | York, in 1922. The achievement claimed for Mr. | Blackton is likely to open the door i to dispute, even though the charming {Lady Diana Manners is the star of the romance and high adventure seventeenth century tale by Felix Orman. The claim may be clever advertising. The language in which |1t is expressed is, “The first great: {dramatic feature to be photographed entirely and exclusively in the newiy perfected color processes of Prizma, Tnc.” . Co-opcration in Production YRAMID PICTURES, INC. nounces that it will extend its i new departure of making motion pic- | ture productions on the co-operative | plan, to Include not only directors| and authors, but stars as well. i Under this plan the director is giv- en a_ royalty based upon the pro- i | i ducer's gross returns from produc- tion, with a nominal drawing account during . the time consumed in the preparation, filming and cutting of arrangement. Authors -with unusual stories that give promise of making big box office attractions are likewise offered a roy- alty, with a nominal sdvance. - The same arrangement will be extended to stars of exceptional box office value. Arthur N. Smallwood. who Is super- ising the company's production ac- tivities, says: “Pyramid has set a schedule for a minimum of sixteen productions a vear, on which no ex- pense will be spared to make them really big pictures. It is our ambi- tion to make every Pyramid produc- tion a speclal, and, if proper incentive to our directors, authors and stars for exceptional attainment will ac- complish.our aim. Pyramid will be- come recognized a leader In the motion picture Industry as a producer of uniformly high-grade pictures.” “We are not out to buy reputations in the purchase of stories or the em- ployment of directors or stars. We } will not pay exorbitant salaries, just because the asker has written. produced or appeared in a big success in the past.. But we will give the author, director and the star an opportunity to seeure a rightful proportion of the profits from any success with which they are identi- fled. et results obtained will be our basis of ‘recompense. | “Salaries of four figures or more a week: not warranted by box office ue of the product itself are the cause of most of the {lls~in the mo- tion picture industry today. Too many people have been collecting super- feature salaries for making program pictures. Under the mid plan creative ability is given fullest recog- nition.- The author, the director or the star, all three working in unison to create a worth-while production of big earning power for the exhibitor, completed what is declared to be the most remarkable super-special ever|eq Cage” “Blood and Sand.’ “To shown on the screen. l.(uve and tv Hold” and “Burning The plcture, called “A Trip to Para- | Sands” mountown,” glves an intimate glimpse in the largest motion picture studios in the world—the places where Para- duced under the supervision of Je- ‘rome Beatty and combines the entire resources of the huge Paramount or- scenery. costumes, and properties. Fo v “all- 2 rallac i i Shoms T e g Tar cast” It{ qn another scene Wallace Reid is Elsle Ferguson, Alice Brady, Jack [fROW off-stage during the fiming of : e R rady A ople.” dozing in a chair. 2 Holt, Agnes Ayres, Theodore Rober i tiny racing automobile approaches his {May 'McAvoy. Thomas M 1 Compson, Bert Bebe Duniels. Lucien Littlefield, Mitchell Lewis, Con- rad Nagel, Julia Faye. William Bo; | David Powell, Walter Hlers, Harrison Oliver, Milton Sills, Robert Cain, Cas. son Ferguson. § was | i screen, this.is it. Not merely is it |should recelve their fair .pro lled with Jaughs, but it has & world | The Byramid plan broyides the nen: of genuine emotion and a significant | tive for maximum achievement, and theme deeply applicable to American |at the same time protects the exhib- life. Green has directed it beauti- |{tor against program-pictures sched- fully, with & fine sense of comedy and uled at super-specisl prices just be- emotional values. Meighan himsslf | cause unwarranted salaries earried has never dome better. Altogether, |profuction costs to a prohibitive fig- the picture is a ‘bear. ure.” R L D. - Life in the Movie Studio—a Great Picture. order to satisfy the desire of mo- tion picturés fans everywhere to the inside workings of a motion picture studio, Paramount has just O, MAY' Wood, Fred Niblo, George Fitzmau- rice, George Melford, Penrhyn Stan- laws and John S. Robertson. In the film motion pictures fans will have ihe chance Lo see directors and stars making such productions ws “Man-| slaughter.” “Nice People.” “Her Gild- IN There is said to be some clever trick photography in the picture, the work of Karl Brown, who stands at the head of his profession in that par- ticular line. For instance, Dorothy Dalton is shown simultaneously in four of her famous characters, and S0 perfectly was the quadruple ex- posure made that not even the eve of the most critical expert can detect lines of junction. of the rascinating “back-stage” life mount pictures are made. It was pro- ganization—stars. directors, artists, han, Bett Lell, Wallace Rel nda’ Hawley, Doro. thy Dalton, Gloria Swanson, Rodolph Valentino, Mary Miles Minter, Tom Moore, Leatrice Joy, Ethel Wales, chair, gnd Wally himself is seen sit- ting in the driver's seat. Wally beck- | ons Wally to come for a spin. Wally picks up the tiny car. holds it in the| palm of his hand and regretfully | shakes his head at the insistent Waily. Then Wally sets the machine | back on the foor and Wally drives| {Ford, Lila Lee, Walter Long, Nita Nal- | #Wa¥, . AR | di. Theodore Koslof, Helen Dunbar,| “A trip to Paramountown” will be Claries Oxle, Clasence Burton projected clusively in theaters ! s o wheére Paramount pictures are shown. —_— - lvia Ashton, Anna Q. Nillston, Lois Wilson and T. Ro . e Jiso Baxd Co-Operation. | These screen favorites are shown in | From the Argonaut. | some of their most famous charac-| yye Worth had just learned that terizations of the past as well as| L b working In scenes for thelr current|l€r negro workwoman, Aunt Dinah.; | had, at the age of seventy, married | for the fourth time. “Why. Aunt Dinah, roductions. Never before has such a t been shown in one picture. For those who do not know how she exclaimed, | divector works when he is making | @ photoplay, “A Trip to Para-|“you surely haven't married again” | mountown™” pictures the following| “Yassum. honey, I has” was Aunt vell known directors In action: Cecil | Dinah’s smiling reply. “Jes' as of'en B. De Mille, William De Mille, Sam|as de Lawd takes 'em, so will L” Established june 24, 1866 This Windsor Dining Room Suite ? 1 79 In walnut or mahogany—60-inch bufiet, with mirror: ob- long extension table, inclosed server, 3-section-front china cabinet. Selected wood. careful construction and high-grade finish. This suite represents a typical value in our immense assortment of beautiful Period Dining Suites. This Cane-End Bed-Davenport Suite . .. .... These Suites at this remarkably low price are proving very nopular. Attractive Queen Anne design, with ends care- fully ed with cane: rubbed mahogany finish, upholstered in handsome blue velour. The davenport, chair and rocker are both roomy and comfortable. Richly finishes the living room and affords an extra bedroom when needed. Easy Payment Terms T his 3-Piece Reed $ ‘Living Room Suite Built of genuine round reed, with spring seats; loose seat cushions and backs upholstered in attractive cretonne. Choice of mahogany or oak finish. Heywood Wakefield Bros. con- struction means good service is afforded in this Suite. $6.00 Per Month Delivers This Suite to Your Home T his White Enameled Lined Refrigerator 19. The famous “Cold Storage” make. Three-door front icing style. Hardwood case, well in- sulated. Provision compart- ments lined with baked are white enamel. Steel Crib, with continuous post, white enameled; drop side. Complete with “strong link wire spring. Full size. 21, 1922—PART 3. : Romance and Real Life | cross the stage and speak to 4 man in | there is dead. | man lay six feet away. | followed me, Peter Grogan & Sons Co. TROGAN’S Use GROGANS | 817-823 Seventh St,N.W. D WYNN, whe is personally re-|th sponsible for billing himself “The |take care of my daighter myself.’ Perfect Fool.” tells this story of his meeting with and wooing of Mrs, Wynn. th “It happened at Winnipeg,” he said. | But Keenan was of a different mood. boy. four years old n “Prank Keenan was a headliner. 1| " ’'Lets see’ he said. addressing me,Keenan® youre on_the same bill with me, was an associate headliner. 1 was| it? were there, : | aren’t you? standing out in front of the alley to|gruff the other day. with what he % dship. ut when we talked of m was & different matioe. © Foron want me for a s was of a differcnt ry | mother, didn’t want the family. Said she for forty-two vear. vinced her that one “But Hilda stuck later were thought was transient I = e help of any hick actors. I will ‘That was a bad beginning. wasn't The next day 1 was a guest at | country club.” Frank and Hilda | I didn’t obtrude myself. | Years That had « was enough 10 nd 4 e w m I'm afraid 1 was pretty | All broke up. | MOUNT VERNON AND the theater, smoking a cigar, when | You know. —Won't'you dine with uf alexandiia, round trip..... g ° cute: jBe o otel rlington Kide what seemed to me the cufest llnng} ‘T accspted. An-a HRy or 50 1 Te- 00 additaas in girls 1 had ever seen passed me| turned the dinner. 1 ordered flowers &lectric and went to the stage door. lma Hilda, and had ordered the din | e 2 : Co good. | Ned beforehan Did the best I could | hyif-hour—sd il tried to MirL with her Neesood | With our accommodations P b0 were o v ¥8 to- “We were on the same bill for Runnlog time-50 minutes gelher,l vllnm‘ltll rg:"e;i‘;:lu]?lfl"‘"? h‘("r elghteen weeks, Hilda and 1 went | Washington. '"R". way Co. gr;em yi,"gh:" [.‘h(vrg‘ e o "gnn (e about together. Frank was satisfied Phone Main 397. 3 just going on when I caught sight of | her features and recognized them in spite of the maid's cap. | “1 had been watching ihe sketch night, but hadn't recogn This night I watched the every her. naid the cast. A moment afterward he fell to the stage. Mr. Keenan faced the audience and kept on talking. He de- livered & six-minute monologue and the curtain fe “The stage manager hurried past me and aaid, ‘That man that's lying He died when he fell.” “I had to o in front of the curtain 1 was doing my single, cutting capers and playing the fool. while the dead Ariother man did a who fortunately single. 100. " “Hilda and Mr. Keenan sat there beside the dead actor. Thiy were walting for the coroner. A | must not be moved until an inquest has been held 1 went up to Mr. Keenan and said: ‘I am very sorry about this. I understand you will have to wait for the coroner. Would vou like me to escort the young lady 1o her hotel” “Keenan's nerves wer. 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