Evening Star Newspaper, June 25, 1922, Page 51

Page views left: 0

You have reached the hourly page view limit. Unlock higher limit to our entire archive!

Subscribers enjoy higher page view limit, downloads, and exclusive features.

Text content (automatically generated)

o "AMUSEMENTS.™ " FILMOGRAMS 4 i ¢fm 5 \ | the: " A story entitled “The Dangerous Age” will furnish the theme for the next John M. Stahl-Louls B. Mayer production. Frances Irene Reels, wio Wrote “The Song of Life¢” and “The Woman in His House,” Is the author, 2nd J. G. Hawks and Bess Meredyth are collaborating with the director in the preparation of the scenarlo. In addition to Ralph Graves, al- mnounced for “The Long it is now announced that Henry B. Walthall and Marjorie Daw will be in the cast. T. Isdahl, jr. of Bergen, who is studying the screen for the leading Norwegian pers, has written to Richard mess that he thinks that M mess’ production of “Sonn most beautiful example of * cultivated film art Norway. industry newspa- Barthel- Barthe is the real and . Universal has decided to call Her- bert Rawlinson's new crook play “Don’t Shoot.” It was adapted from George Bronson Howard's story, “Hands Up!" Two different types of ghosts will be seen shortly in Paramount pic- tures. In “The Ghost Breaker” they will be Spanish specters wearing ar- mor. In “Borderland” they will ap pear as dim spirits swathed in filmy raiment. William V. Mong been chosen ‘f.nr an important character part in Captain RBlackbird,” Carey Wilson's story. Mong will impersonate the priest of the South Sea island devil worshipers. He has contributed no table acting to “A Ten-Dollar Raise.” “A Connecticut Yankee in King A thur's Court” and many other pic- tures. Glorla Swanson has commenced work on her next picture, “The Im- possible Mrs. Hellew.” Prior to her return from Europe m Wood, who !8 directing the picture. took many ot the scenes in w York. in which the star does not appear. Ruth St. Denis was engaged to supervise the dance nes in “The Ritterness of Swee the latest Rupert Hughes picture. A peacock dance by Colleen Moore and Antonio Moreno” makes one of the striking scenes in the picture For the first time a Swedish star has his name in electric lights in front of a Broadway motlon picture theater. Victor Seastrom plays the leading role in the Swedish Biograph production of “The Stroke of Mid- night.” A dress made entirely Tibbon and strings of by Marion Davies olitan picture, “The Young from the novel by Marie Corelli. The dress symbolizes “Light.” Joseph Urban designed the settings for the picture. “A Bill of Divorcement, which was one of the hi York., and an even bigger London, where it ran for two {s being filmed in London by the Ideal Film Company, Ltd. with Con- stance Binney. in the leading rol The plcture will be shown in this country in the autumn. of silver pearls is in her next the play s in N on in years, Kiddles of Stamford, Conn. have & wonderful boat landing and barge on which to play these summer day George Ade Writes Photoplay. EORGE Ade has turned his tal- ents toward writing a photo- play, “Our Leading Citizen This is the first time he has It written directly for the screen. i3 true that kis “College Wi made into a photoplay a f ago, for him. Had it been simply a pic- turization of the best play about col- lege life ever written it would have been a classic, but some one, moved by what he believed was the dramatic instinct, insisted upon introducing a burning house and a rescue by the hero, and a cheap and evanescent melodrama_ was the result. The Christian Science Monitor in a re- cent review of Ade’s new photoplay says that as a photoplay it is in no way remarkable. but taken in com- parison with the “spectacles.” the “milllon dollar pictures” which have crowded the motion picture screens during the j som, it is a hugely enjoyable com it reems t w how_to laugh st pic seridus have they b cally® intricate. s extravagantly Iatided before they are presented. that the most a spectator can bring 1o the theater nowadays is a vast wonderment. Unless a picture is la- bel “comedy.” we feel that we are cxpp@ted to be impressed rather thar And nine times out of ten. medy.” in spite of its label, is only a wearisome repetition of rough y and cheap burlesque, at ‘we can only smile sadly. s is the first time George Ade has turned his facile pen to writing directly for the screen. He started off blithely enough with the true Ade have fi ten ure p So ome, so techni- ! touches of humor and gentle satire. Hawever, as the story progressed, helalls more and more into the ste- reotyped methods of the average film play. €he story is one that handles best. Wingfield, the home of the hero, is a small town, presumably in the middle west, where there is 2 great discrepancy between the cham- ber of commerce populition figures and the actual statistics. A young lawyer, who is known as Lazy Dan Bentley, misses clients and an Income because he is always out loafing about a rlver with a picturesque character of more or less question- respectability. Bentley consid- ak Walton a greater man than Mr. Ade 'ALLACE REID, film star holds the indoor and outdoor cham- pionship on hobbles. He has more hobbies to the square foot than any other screen actor now before the public. And most of his hobbies are the kind that can furnish entertainment to his wife and young son and his friends. He is a great big boy, who Is thirty years cld and doesn’t show it, and he is so full of 1ife that his energy seems limitless. There are very few men who can give really creditable performances on such varied instruments as a plano, saxophore and violin, but these are only & part of the collection that Wally Reid can perform on. His large living room looks llke the headquar- ters of an orchestra. In addition to these so-called “par- lor” accomplishments he is an en- tertaining conversationalist. and he can draw cartoons. He used to do this on & newspaper. Or he can write a story or scenario, or direct a pic- ture. He seems to have inherited the literary talent of his father, Hal Reid. But don't get the idea that Wally is an indoor man. You will not have to see his quick, lithe movements, his musclar shoulders ard legs very long to realize that he iIs a trained athlete. He has a large swimming pool in_the rear of his house, where he and Mrs. Reld (Dorothy Davenport) and the boy spend many of their lesiure brilliant | but some one else butchered it | They were built on the Marks estate by the Cosmopolitan Picture Com- pany for use in the big picture “When Knighthood Was in Flower. starring Marion Davies. When tk scenes were finished Mr. Marks re- quested that both boat landing and barge be left so that the children of the town might enjoy them. Alan Crossland will film “The Face in the Fog" one of the famous Bos- ton Blackie stories by Jack Boyle, the newspaper man. “Lover's Lane.” written by Clyde Fitch, and “The Old Folks at Home. by Justine Adams, have been pu chased by the Warner Brothers, to be converted into celluloid. 4 “The Old Homestead” is one of the | first pictures in which Theodore R erts has appeared in some time wherein he cannot smoke cigars. But he makes up for it between scenes. ta | Wearing a cloth of gold train about fifty feet long and sitting in uncom- | fortable propinquity to a couple of thoroughbred Bengal tigers are only. two of the things that Leatrice Joy has to do in “Manslaughter.” “The Law of the Lawless” a tale of gypsy life from the collection of short stories, entitled “Ghltza and Other Romances of Gipsy Blood.” by Konrad Bercovici, famous Rumanian author, has been purchased by Paramount as a possible vehicle for Bebe Daniels. Norma Talmadge makes a pleture version of Balza “The Duchess of Langeais.”” And right away it becomes | “The Eternal Flame.” Bull Montana was once a prizefight- er. He still keeps his interest in the doings of the members of the “box- fighting” fraternity. So when Jack I Demp. was photographed with a { monoele in his eve. Bull was filled with righteous indignation. “If that's omes of visiting London,” he ‘m glad Jack didn't go to Pat- where men wear brass rings nos what ald. agon in their Alice Brady wears glasses ‘before the camera for the first time in her motion picture career in her first !Paramount picture, “Missing Millions,” which is now in’ production at_the company’s Long Island studio. Miss { Brady effects a disguise with the glasses which is essential to the crook {role which she plays in this “Boston | Blackie™ story. | Buster Keaton, who recently finish- ied “The Frozen North,” has taken out ia five-thousand-doliar insurance pol- {icy against smiling while working. Lew Cody. the outdoor hero of the returned from been | sereen, who has just | Bangr, Canada, where he ha tworking in the new Cosmopolita | ture. “The Valley of Silent Men. ihe learned to speak Eskimo and In- dian cuss words while in the frozen north nd.” says Lew.” “when you drive a dog team over acres of ice and as 1 did. until you're frozen vou need all the cuss words in- vented in any language. i “Manslaughter,” Cecil de Mille's next production, is promised for July 1. | United Artists announces that the following pictures will be released next fall: Douglas Fairbanks, in “Robin Hood"; Mary Pickford's ‘“Tess of the Storm Country,” Charles Ra in “A Tailor-Made Man": George Ar- liss, in “The Silent Voice,” and Jack Pickford, in “Garrison’s Finish Blackstone, and pursues the work of | the former to some advantage, while he leaves the latter severely alone. These pleasant but unprofitable da. are rudely interrupted by the war, and Lazy Dan announces that he is going by leaving an item with the local paper to the effect that he is | “going to try the fishing along the 1 Rhine. So far the story has been pleasant- 1y probable, and the Ade humor as re- freshing s the outdoor scenes through which our hero wanders. But, after all, a motion picture must | provide scme thrills, even if they are| mild, so we are asked to believe that Lazy Dan, now a major, meets a girl from Wingfield and loses his heart to_her while shells fly. The girl, who is the sister of Wing- fleld’s richest and most influential tieen, goes home first, and, accord- to her counts, Maj. Dan won war, with a little feeble assist- ing and Foch. When finds the whole town the { ance from Pe he returns h out to meet him, and. after one loc at the mob and the welcoming ban- | ners, he promptly slides off the wrong | side ‘of the train, meets his disreput able friend 2nd goes roaming over | Marmont to P]ay - Mark Sabre GAILING on the Berengarla of the Cunard line recently was Harry Millarde, who has gone to England to direct “If Winter Comes,” which will be p:oduced on locations described in the famous Hutchinson novel. With Mr. Millarde was Percy Marmont, who will play Mark Sabre, and the direc- tor's assistant and cameraman. The rest of the cast has not been selected. Willigm Fox, the producer, is in Lon- don, and will keep a personal eye on the ‘production. After consulting A. S. M. Hutchin- son, the author, on the scenario of the book, Millarde will go to Canter- bury, Surrey and Kent, where' the ex- teriors will be made. Interiors will be shot at the Fox New York studio. A great many actors in: the United States wanted to play Mark Sabre. Percy Marmont, who has been en- gaged for the role, is English a tor of both stage and screen, but his screen reputation was established in this country, where he played leads to Elsie Ferguson, Alice Joyce and eraldine Farrar, besides being fe tured in special productions. Mr. Millarde is recognized as a successful director .of Intricate human interest stories, “his biggest success being “Over the HIlL" Madge Bellamy in “Garrison's Finish™ D[ADGE BELLAMY hae been select- “% ed to play opposite Jack Pick- ford in his picture, “Garrison’s Fin- ish,” now in production for release this fall by Allied Corporation. Miss Bellamy was ready to begin work when Mr. Pickford returned to Holly- wood from New York, where he had been taking scenes of the Metropoli- tan handicap, which will serve to give thig racing story realistic back- ground. “Garrison’s Finish” will mark the return of Jack Pickford to the screen as a star. He has been directing for the past two years. Much-Pitied Youngster. S a child Buster Keaton was per- haps the most vociferously pitied youngster in the counttry. This was specially the case in the state of New York, where the Gerry Soclety repeat- edly accused his father of cruelty. Bu ter was a member of the act known as “The Three Keatons,"” which was of the knockabout variety. He was-known as the human football, for his father used to throw and kick him around, all for the edification of the audiences. Managers of theaters at which “The Three Keatons” appeared would be de- luged with notes protesting at the man- ner in which “that poor child” was d. My father used to carry me on the stage and drop me,” sald Buster. “He would pick me up and hurl me at a piece of scenery, sometimes knocking the scenery down with me and some- times not. He woudd often throw me as far as thirty feet. I liked it and I was never bruised, for he taught me arly in life how to fall and break them." On one occasion in New York. the protests were 8o numerous that officials took action. He was taken before the governor of the state and stripped, just to prove that he had no broken bones. As a matter of fact, he didn’t even have any bruises. He had been taught how to take his falls and that is the reason that today Keaton Is considered the best tumbler in_the movies. Nothing hurts him and he'll try any- thing—once. Success of "The Bat.” OleER MOROSCO has gone to Los Angeles from New York to begin preparations for filming “The Bat.” Morosco has taken to the coast un- usual enthusiasm for “The Bat” In picture form. He belleves that it will mhore than duplicate the success of the story on the stage. He is in a posi- tion to judge the play’'s popularity, because the Morosco Theater in New York has received $300,000 its share of “The Bat" receipts since it was produced August 23, 1920. “From the first night eagerly was sought for the screen, Morosco said, when he arrived in Los Angeles. “Wagenalls & Kemper, the owners. received an offer of $50,000 for the film rights on the opening night. Since then the bids have be- |come more numerous and higher. ‘Since *‘The Bat' was produced in | the country as of old, in a dilapidated | New York more than 100 plays bave automobile. E {come and gone on Broadway, but it So far, with the single exception|still endures. At the Morosco Theater of the meeting with the girl, the film | in New York alone more than 1,000,000 < and make Wingfield known all over Wallace Reid ‘|any production. has becn pure fun. After that it settles down to the business of being a “movie.” The hero, spurred on by the girl, decides to run for Congre: the United States. There is the usual complication of crooked poiitics, the ! introduction of the usual villain, with | his attempts at bribery, and the machinations of the rival candidate. With the assistance of the girl, the hero frustrates all such attempts to bar his progress and becomes in very truth “our leading citizen.” Thomas Meighan, 2 young Irish- man who has been hampered with poor plays for some time, plays Lazy Dan. There 1S no more pleasing per- sonality working for the screen than young Meighan. He has never felt called upon to resort to the usual arts of the screen favorite. His ef- fects are achieved by acting that gives the impression of naturalness, which is, after all, true art. Lois Wilson is an actress who belongs to | the same school. She will be re- membered for her interpretation of | the part of Lulu Bett. Willlam | Carlton plays the villain in a melo- dramatic style, and Theodore Roberts is a splendid figure as the profes- sional politiclan. s Home Life.. hours. And he has a horse that he | can ride like a cowboy. Galloping | around a polo fleld in that most strenuous of games is one of his tavorite pastimes. ‘There is nothing more important than one’s physical condition,” he says, *no matter how busy I am I always spend part of the day taking some kind of exercise. It should be a cardinal Tule in every man's life. | Spasmodic exercising does very little | good, I have found. To get the best | results one should be as regular with his training as he is with his meals. “Playing games, like golf or tennis, whenever possible is always a good way to keep in condition. There is something about the spirit of pla: which you get in a contest with an- | other person that takes away the drudgery of exercise. I ride horse- back quite often and indulge in an occasional polo game. Any game that | has a lot of action I love. I have been | that way all my life. T like the smashing, bang-up contests that keep me golng at top speed all the time. He has had his wish as far as speed is concerned. for since he became a | star he has appeared in a half-hun- | dred or more' productions. Within the six months beginning in August he is scheduled to appear in four pro- ductions: “The Dictator,” in which he is to be starred: “Nice People,” a Wil- liam de Mille production; “The Ghost- Breaker.” in which he will be starred with Lila Lee playing opposite, and {“Thirty Days” another starring vehicle. The Much-Hated Villain | RICHARD BARTHELMESS, the pop-{ | ular young screen star, who is Inow filming “The Bond Boy” to fol- low “Sonny,” says nothing will ever induce him to portray a villain in No matter how ar- tistic or strong the part is, it will not appeal to him. { [AS {on a daily shopping tpur with Con- persons have seen the play. It is es- timated that 4.000,000 more saw ‘The Bat' on the road. “The success of “The Bat’ in Amer- ica has been duplicated in London, where it begun a stay that continues at St. James' Theater last January. The king and queen and other mem- bers of royalty twice have seen the performances. In addition to the Lon- don company, there are four more touring England, Scotland and Ire- land. “To picturize ‘The Bat' has been the ambition of nearly every prominent producer, because in It are recognized unbeatable film possibilities. That is why we will concentrate all of our enegries in it.” 5 Connie in 'East Is West’ Ming Toy in her screen version of “East is West” Constance Talmadge will have to cover her bobbed golden locks with a coal black wig. and there will be a long pigtail dangling down behind. Her costumes are of rare silks and brocades from hina, heavily embroidered in varied and intricate designs. They have all been made from special color plates drawn by Charles Lemaire, who is re- sponsible, also, for the beautiful 1860 gowns worn by sister Norma in Smilin’ Throug! Lemaire stopped work on his costumes for the new “Ziegfield Follies” long enough to go stance, while she was in New York recentiy, and together they prowled around Chinatown, selecting curious bracelets, quaint headdresses, multi- colored fans, carved beads, gra: terns and dozens of other odds and ends. They also browsed in several old antique shops, and Constance be- came so interested in Chinese lewelry that she bought enough for ten ori- ental pictures. Real Judge in Film. A REAL judge presided for a few moments on the bench in Ethel Clayton's picture, “For the Defense,” when Judge Henry D. Clayton of Montgomery, Ala., visited the Para- mount studio and posed with Miss Clayton while the pictures were taken. “For the Defense” will be seen at the Columbia today. Judge Clayton was in California to address the California State Bar A sociation at Riverside and San Fran- cisco, and also the Commonwealth Club in the latter city. He spent ‘lfhtnn years in Congress under Presidents McKinley, Roosevelt, Taft and Wi son, and went on the bench in 1913. He was chairman of the House judi- clary committee of the Sixty-second and Sixty-third Congresses. He Is author of the Clayton act, and, as he humorously remarked, “It has been a great thing for the lawyers. It glives them Ivts to do, because nobody can understand it.” Judge Clayton did not figure that he was related to the charming star unless, perhaps, In a very remote way, but he was none the less de- lighted to meet her, a feeling which was reciprocated by Miss Clayton. | ’ml‘. a director is included In the Teard in the Lobbies s B D. Henry Duffy is one of the Belasco Playérs who has been seen in Wash- ington this season with a rdad com- pany.” He had the principal mascu- dine role In “Wait Till We're Married,’ the. first play of the current season. Mr. Gendron has also appeared here this season in road attraction “Lions night” at the Belasco ha: been a_conspicuous success. Mi Wanda Lyon, the only feminine mem- ber of the local Lions Club, is in her element on the evenings when her brother Lions are on the job. Kane and, Herman are golng out next season “on their own hook” in a musie comedy bullt to their mirthful measure. 1 The whole nation pald tribute tol Lilllan Russell at the midday services t Sunday in all the Keith houses nd their afiiated theaters, number- ing 800. The demonstration of sor- row and respect was unique In the country’s history. = Ethel Barrymore will be seen at B. F. Kelth's Theater July 31, when she will present her cleverest com- edy, “The Twelve-Pound Look.” Joseph P. Morgan, general manager, and John J. Payette, assistant gen .eral manager,' of the Crandall enter- prises, went to New York last week ! fo socure special attractions and spe- cial equipment: for the Crandall honses. ‘Much interest was manifested 1 week in the new type “music fiim' shown for the first time in Washin, ton at Craandall's Metropolitan The- ater. It is a new system of synchro- nizing orchestral accompaniment with ictured action, and w: devised by F. Leventhal. When the film Is picture conducting the actual music belng played. The name of the num- ber or numbers used is recorded with the film, and all the leader directing the theater orchestra need do is fol- low the conductor on the screen. The series of “mustc films” booked at the Metropolitan represent a serfes of dances_ photographed in natural col- ors by the Prizma process and exe- cuted at Denishawn, the Los Angeles school of Hance conducted by Ruth St. Denis and Ted Shawn. The set- tings are designed by Claude Millard. Crandall’s S8avoy and Apollo picture gardens are ®feaking all attendance records:- As the days from now on grow_shorter the projection time of the first open-air performance will gradually be earlier. In each park| an orchestral concert precedes the first showing of the protoplay pro- gram. ‘There will be special holiday mat- inees at 2 p.m. in all of the six Cran. dall Theaters in Washington Tues- day, July 4. . Samuel M. Boyd, secretary to Harry M. Crandall, left Washington yester- day for a week end motor trip, from which he is expected to return Tues- day. Harry E. Lohmeyer, manager of the Avenue Grand Theater, who recently | At Work on New Pictures. ICHARD BARTHELMESS, whose “Sonny” has cement- ed his hold on the hearts of milllons of fans, is now making “The Bond Boy" at the Blograph studios in New York. It is an intensely dramatic story by George Washington Ogden, dealing with the life of & boy who is illegal- Iy bonded out by his mother to an un- scrupulous villaln with a pretty oung wife. A murder mystery is one 3¢ the features, the boy accepting the responsibility for the crime in order to_protect another. Constance Talmadge _h: production on “East Is adaptation of the famous Bro‘ success, with the Initial scenes “shot’ at the United Studios, in Hollywood, under the direction of Sidney Frank- 1in. Stephen Gooson is art director, and he is declared to have designed a number of Chinese sets of remarkable beauty. Edward Burns is playing the male lead. John M. Stahl, who recently com- pleted “One Clear Call” an all-star picture which has met with an en- thusiastic reception, is now making a spectacular rama entitled ‘The Dangerous Age,” based on an original theme by Frances Irene Reels. J. G. Hawks, the new chief of the Louis B. Mayer scenario department, and Bess Meredyth collaborated on the scenario. Lewis Stone heads the cast. Having finished “The Woman Con- quers,” Katherine MacDonald is now engaged in filming “White Shoulders,” based on a Saturday Evening Post story by George Kibbe Turner.. Tom Forman, who Is directing, also plays a part, and the rest of the cast in- cludes Bryant Washburn, Little Rich- ard Headrick, Nigel Barrie, Lillian Lawrence, Charles French, James Barrows, Lincoln Stedman and Fred Malatesta. The picture will contain many thrilling situations and elabo- Tate sets, ‘Allen Holubar is completing the editing and cutting of “Hurricane's Gal,” a spectacular drama of the sea, with Dorothy Phillips as the star. Most of the scenes were taken many of them being fiimed from hydroplanes, with Director Holubar issuing orders by radio. Preparations_are now in progress for the next Norma Talmadge pro- Lincoln Historic:d Film started WHAT appears to be the biggest job ever undertaken in the his- tory of motlon plcture production is the fliming of the life and times of Abraham Lincoln by Rockett-Naylor Productions, Incorporated, a company recently organiged at Los Angeles (ol produce big historical and religlous subjects, of which the Lincoln plc- ture will be the first. After a year's research under di- rection of Dr. Gilbert Ellis Bailey of the University of California and Msssrs. Rockett, the company is ready for actual production, and the officers of the company are now arranging for the photography of the hisiorical locations at this city, Richmond, Va, and Harrisons Landing on the James river; Hogenville, Ky.; Gentryville, Ind.; Springfield, Decatur, Vandali New Salem and :lhez p;ll‘\'uol:'gl.lxllz- ;3 th iver fron e 3 Ind Aat-boat ac es on the Sangamon, and flat-boat Tilinois and Mississippi rivers. i Government, state, municipal an olvio organiszation co-operation has been’ promised, and the priceless Lin- coln relics in' government and private collections will be_used in order that the production may be historicglly | authentic to the last degree. The pic- ture is promised for release next Jan- uary. Hay; Ideals Indorsed. i «THE motion picture industry to a “man is behind Will H. Hays in his fight to_maintain the high moral and artistic standard of motion pic- tures.” That is the declaration made by Cecil B. De Mille, director general of Paramount Pictures, following Mr. Hays' request that notices be posted on the bulletin bodrds of all studios outlinti the standard which he has set (orn l;notlon picture production “We.dre making pictures today, as many of us consistently have made them in the past” Mr. De Mille pointed out, “that are in complete ac- cord with Mr. Hays' ideals. He is de- termimed to prove to the world that the motion picture industry is capa- ble of producing pictures without external supervision, and we are 2]“‘““‘ every effort to aid him in work.” ibeen provided for the production of - Post as the star, which will be re- underwent a serious operation, is convalescing. , Joseph Rosner, first viola and li- brarian of the symphony orchestra at; Crandall’s Metropolitan Theater, last week completed the cataloguing of the Meetropolitan's music library of 5,000 numbers. This library is the theater’s property and entirely apart from the personally owned library of some 8,000 numbers belonging to N. Mirskey, conductor of the Metropol- itan Symphony. Garry McGarry, production man- ager of the Garrick Players, has re- covered from the indisposition which recently threatened a long hospital engagement. McGarry froze both feet while serving as overseas com- missioner in Russia of the K. of C. and recently suffered from an after- math of this distressing experience. The surgeons at Walter Reed have, however, succeeded in making him ©O. K. once more. “Slippy McGee"” is now- in its sixth week with the St. James Players In Boston. The piece will be produced here by the Garrick players some- time in July. Creighton Hale, prominent as a leading man in both legitimate and motion pictures, has accepted a con- tract to appear in_ the near future with the Garrick Players. Edmund Breese, in “The Lion and the Mouse,” is another visiting star scheduled for early appearance at the Garrick. Dorothy Gish is making a motion picture with its outside scenes taken in Montreal. She will make a flying trip for the Garrick opening of “Moonlight and Honeysuckle,” in which her husband is. starred and will remain here until Friday. Robert Edeson will be among the stars to appear during July with the Garrick Players. He is planning to revive an early success, “Strong- heart. Director George Henry Trader of the Garrick Players is a stickler for adequate stage settings. The prop- erties used in “Bought and Paid For” were valued at $4,500 and were in- sured for that amount during their use by the stock company. Some un- usually handsome mountings have “Moonlight and Honeysuckle.” Frank DuFrane of the Garrick Players is an official of the Actors' Equity Assoclation and the deputy of that organization with the local company. He has already been en- gaged to appear with the repertoire company of the Actors' Equity, when the performers open thelr own thea- ter to stage their own plays in New York city next season. John Salb, organist at the Rialto Theater, was suddenly stricken with appendlicitis Friday, the case being of such a serious nature that it was necessary to rush Mr. Salb to the hospital for an immediate operation, which from all reports was entirely successful. and. unless unforeseen complications arise. “Johnny,” as Mr. Salb is familiarly known in musical circles, will soon again be at the Rialto. duction, with “Infatuation” complet- ed. It will be an adaptation of the stage play by Robert Hichens, “The Voice From the Minaret,” a tale of orlental love and adventure. Frank Lloyd will direct. Buster Keaton has just finished “The Frozen North,” a burlesque on wild and_woolly melodramas, and is | making “The Electric House,” . the scenario of which promises one of the most side-splitting comedies ever | made by Buster. He is now busy with “Day Dreams.” Charles Chaplin’s next comedy is destined to be one of his best, judg-, ing from the time involved in making | it. He Is now shooting scenes at| Uhiversal City, where he rented a| large number of massive sets. No| hint as to the nature of the comedy has been issued from the Chaplin headquarters. At the Mack Sennett studios Mabel Normand's latest starring vehicle, “Suzanna,” a Spanish tale, is being edited by Director F. Richard Jones, and the two-reel comedy companies are hard at work. Richard Walton Tully, creator of “The Masquerader,” with Guy Bates leased in the fali by First National. is now shooting the first scenes for the second Post picture, “Omar, the Tentmaker,” in which Post played | for months throughout the country. | James Young is directing. While Marshall Neilan is taking advantage of a well-earned vacation | his studio forces are cutting ‘Her Man," a story of small-town jour- nallsm and one of the most unusual yarns ever filmed. The story, by George Pattulo, originally appeared in the Saturday Fvening Post, and the cast includes Matt Moore, Leatrice Joy, Raymond Grifith, Helen Lynch. George Barnum, Fritzl Brunette, F. D. Phillips, Dick Wayne, Josephine Crowell, Tom Wilson and George Dromgold. g Hope Hampton's latest production, “The Light in the Dark,” s now being edited in the east. It was adapted from William Dudiey Pelly's novel, “White Faith,” and was direct- ed by Clarence L. Brown. The sup- porting cast includes Lon Chaney, E. K. Lincoln, Dorothy Watters, Dobie Davidson and Edgar Norton. The picture Is declared to possess some novel effects never before seen on the screen. Blames Daylight-Saving HARLES E. WHITEHURST., a Bal- timore manager, is quoted in the Sun of that city as blaming daylight- saving for decreased attendance at the motion picture houses. Exactly how daylight-saving lessens the patron- age of the movies he does not explain. He says: Y¥If daylight-saving continues many moving-picture theaters will have to close not only for the summer, but permanently. “The neighborhood houses will be hit the hardest.” he continued, “and probably will- be the first to close. ut unless a miracle happens, or day- light-saving is abandoned, 1 think some of the downtown theaters will have to follow suit. 1 do not expect | to close any of my theaters. although daylight-saving has cut my business 60_per _cent."” r. Whitehurst points out that as soon as the new time went into effect there was an immediate diminution in_audiences. “There is no use blinding ourselves to the situation. There is a limit to the amount of money a man in busi- ness can lose. I can afford to lose thousands of dollars, many who cannot. but there are They might keep their theaters open if they did not have to pay for the pictures, but they cannot do both. “Many managers have been able to help along by cutting down thelr help. But if ,we have daylighj-saving again next year there is no telling what may happen.” — Search for Location Long GO important to the story were the exterior scenes for “North of the Rio Grande” that Rollin Sturgeon, the director, went to Arizona him- self to select the locations. Much of the action takes place in Arizona and the New ‘Mexico cow country. The! actlon calls for a’'chase of cattle rus- tlers and their capture following ex- citing feats of horsemanship down the sides of a steep canyon. After ten days' search Sturgeon finally found the location he wanted fifty miles from Phoenix, Ariz. Tents and sup- plies were brought in by pack train, and for three weeks the film makers and actors worked under pioneer con- ditions to get the most realistic west- ern atmosphere. Indians figure prom- inently in the story, and for that rea- n the movie camp was set conve- ently near one of the largest Arizona Indian reservations. 1922—PART 3. ° "One Clear Call™ Draws Well J_AUDED by the press as one of the _ most fascinating dramas that n.v,,l reached the screen in months, "One' Ciear Call,” & powerful story of the southland with’ nightriding scenes reminiscent of some of the most stirring moments in “The Birth of a Nation,” made its debut recently in Chicago, where it crowded the big New Chicago Theater at practically every performance. “One Clear Cal¥’ is John M. Stahl's latest all-star production for Louis B. Mayer, and is reported by critics as the greatest of this able dircctor's achievements to date, Scheduled for seneral release this momth, it soon will be shown in leading theaters throughout the country. Milton Sills, Claire Windsor, Henry B. Walthall and Irene Rich head the all-star_cast, with Joseph Dowling, Edith York, Doris Pawn, Shannon Day, Donald MacDonald, Annette De Foe, Nick Cogley. Fred Kelsey, Stan- ley Goethals, Albert Macquarrie and William Marion completing the list. Society Girls as Extras. THE dress ideas of New York society girls cause motion picture direc- tors working in eastern studios no énd of trouble. Unlike Hollywood, New York has girls of the elite and near-clite who seek in motion pic- ture work relaxation from arduous teas and bridge parties. That is, they seek it if the casting director doesn’t find out their lineage, for he has had enough trouble with society in the films, and If a young lady with a blue-book reference applies for work as “atmosphere” in the bail room set she gets the “air,” vernacu- larly speaking. . They besiege the eastern studios of the motion plcture companies, however, and some of them succeed in getting extra jobs. Two such sub- debs were hired the other day at the Paramount Long Island studio to make up the background of a fash ionable ballroom scene for Alice Brady's picture, “Missing Millions.” They came to the studio in their limousines, all dressed up in pink evening clothes, with slippers and stockings to match, a perfect picture of loveliness. The casting director spoke to Jo- seph Henabery, who is directing the picture with enthusiasm—after the fashion of casting directors—about the ‘“classy” bunch of extras that had been obtained for the scene. Everything went fine the first day. Long shots, close-ups and medium shots were taken with rapidity. When the day was done Henabery gave the following instructions: “Everybody be on this set again tomorrow at 9 o'clock dressed the same as you are today.” For experienced extras in movies that was enough. But to the young debutantes of the Four Hun- dred the words meant nothing. The next morning 198 extras came in the clothes they had worn the day before. The two young ladies with addresses in the social register arrived at the studio in a complete change of costume. They were so pleased about their new dresses that they even became so bold as to ask the director if he liked them. Now, Henabery is a mild-mannered mar‘)‘.'hbuldy‘l"l’o almost lost his poise. > y you change dresses?” asked sharply. £ e “Oh! we never wear dress twice in two day: explained. “But don't you realize that the scene we are shooting today Is a continuation of the one we shot yes- terday? In the picture you haven't had any time to change.” And the picture was held up two hours while the disillusioned young to put on Tn the day the the same the novices Myers to Play “Ivanhoe." VW/HAT actor in the screen has had the opportunities to play such roles as Harry Myers has had? Sir Boss, of Mark Twain's story; “Robin- son Crusoe”; Gllly, in “Turn to the Right,” and now comes the most won- derful role of all. Carl Laemmle, president of the Universal Company, announces that he will send H: Myers to Europe to film Sir Walter Scott's classic, “Ivanhoe.” there. This is the second time that “Ivanho has been filmed In Europe by Univercar | : Ten years ago it was made by King ! Baggot and when released outstanding film of that year. el Edward Laemmle has been chosen for director because of his experience in two remarkable serials, “Winners of the West” and “In_ the Days of Buffalo Bill.” and for the resourceful | way in whi versal success in the wilds of Borneo. This picture was entitled he made a former l'm-[ wrecked Among Cannibals. ! “Ship- i Improvement in Movies BY DONALD H. CLARKE. PERHAPS you've heard or read that motion pictures are at a standstill or are rushing backward with the speed of a wireless tele- phoned “Hello!” Well, all the evidence avallable to this writef Is to the contrary. It would appear that all any one would have to do is compare a motion pic- ture of ten years ago—any one of them—with a motion picture of cur- rent vintage. Everything in the mod- ern photodrama is better—the story, the direction, the photography, the settings, the titles, the acting. 2 What critis of motion pictures, on the constructive side, could ask more than for a producing company to spare no_effort to get the co-opera- tion of the best authors, the best di- rectors, the best photographers and the best actors? Few persons realize even faintly the wealth of experience, the years of study and the months of preparation that are focused on the production of each modern photo drama. It'seasy toseea picture and laugh be- cause one actress is seen walking up- stalrs with a fillet on her head and is percelved to have arrived without the | fillet. 'That sort of error will creep | into motion pictures always, because | it is impossible for any human being to be always 100 per cent perfect on every mechanical detail. The great thing to do is to see your picture of today in contrast with your picture of yesterday. Chances are you cannot fail to see the star- tling improvement. The world, is getting better all the time. And motion pictures are get- ting better faster in proportion than most human institutions. That seems to be a consensus of opinion among persons who are closely iden- tifled with the industry. “Hurricane's Gal.” S the beautiful leader of a band of sea smugglers, Dorothy Phil-| 1ips is said to have one of the most | fascinating roles of her screen ca- reer in her latest starring vehidle, “Hurricane's Gal,” produced for First National release. In it she commands the rough crew of a schooner that sails the South Seas and engages In its fllicit and dangerous trade. The heroine is known as “Hurri- cane’s_Gal" being a wild, untamed girl of the sea, who, upon her pa- ronts’ death, was left only a heritage of ‘hate and lawlessmess. The love of & manly man, however, comes. to regenerate her unbridled spirit. 'A'hel photodrama that has been evolved is said to be saturated with suspense and replete with thrills. Miss_Phillips is supported by Rob- ert Ellis, Gertrude Astor, Wallace Beery. Jack Donovan, James O. Bar- Frances Raymond and William | “Fat” Fong. This big sea drama was filmed Inj San Francisco, Los Angeles and in a three-masted schooner cruising the ;filfiofl the coast of southern Cal- " AMUSEMENTS. In the Spotlight ' HE seventy-fifth performance of “The Goldfish,” in which Marjorie Rambeau is atarring. took place last Tuesday night at the Astor Theater, New York. The cast of Willlam Anthony Maguire's “It's a Boy.,” soon to be produced in Atlantic City, will in- clude Robert Ames, Hortense Alden, John Daly Murphy and Millicent Hanley. A comedy by Avery Hopwood. en titled “Why Men Leave Home,” wa placed in “rehearsal last week by Wagenhals & Kemper. It will be tried out this summer and will go to New York at the opening of the season. Frank Keenan having arrived in Los Angeles, has wired his son-in-law, Ed Wynn, that arrangements have been completed for the comedlan to go into pictures next summer, while he is browsing around the Pacific coast with “The Perfect Fool.” Paul Robeson, who was chosen by Walter Camp for the All-American foot ball team, when he played at Rut- gers, has joined the cast of “Shuffle Along,” the musical revue with col- Robeson appeared last “Spice of 19227 a revue by Jack Lait, had its inltial tryout at At- lantic City last week and is reported to have scored. Allen Kearns, last season in “Tan- gerine,” will play the role created by Otto Kruger in “To the Ladies,” next season. The play opens in Chicago, September 4. George MacQuarrie and Frederick Truesdell have been engaged for “That Day,” the first offering of the Belmont RRepertory Company. Alphonz Ethier wiil be in the cast of “The Inevitable.” in which the ITtalian acrtess, Maria Bazzi, will be seen in this country next season. A. H. Woods returned to New York from abroad last week. He has been in England, France and Germany for two months and is bringing home a collection of foreign plays for pro- duction next season. Irene Franklin and Phil Baker, who closed recently in the “Greenwich Villiage Follies,” are to play Keith vaudeville. Miss Franklin will begin her engagement in Pittsburgh, July 3. Allan Pollock, who is appearing HE value of the director in making motion pictures Is being questioned these days, according to Cecil B. De Mille. . “Not that any one believes that he is not valuable,” he explains, “but, on the contrary, there is a general feeling that the director has not had his fair share of appreciation. Since I am a director and have given the past ten years of my life exclusively to the production of pictures, I am inclined to agree with th view. Eut I am content to let others dis- cuss it. “There is, however, one poiat in the discussion which seems to me to be is the great change of method in directorial work. Since the public first came to realize that there was an actual man, represented to thcmn only by a name which flashed for a few seconds on the screenm, directiy responsible for all that appeared be- fore them, the important role of di- rector has changed completely. “The old-style director has been replaced by a student of psycholoj a man capable of photographing ideas rather than mere gesturss. Such a statement as that needs explaining to bring it out of the Log of gener- alities. “The old-style director relied upon his own abilities as an actor and the imitative powers of his actors and actresses. The making of pictures was an art—to speak kindly of it— which was so new and so different that only the director and his camera man knew anything about it. Actors, drawn from the stage, found them selves bewildered because they did not know what they should do ner how they should do it. “It was up to the director, nut only o explain, but to act out cach part. He went carefully into the details of each second, and subsequently de- | of “A Pinch Hitter,” in New York. an nources the last week of his enguge ment. He plans to present the comeds in Chicago in the autumn with anothe) player in his role, as he will be appea ing in “A Bill of Divorcement,” undet the direction of Charles Dillingham. Rudvlph Frim! completed the “03 for “Genevieve,” a romantic music comedy, and then sailed for Europe of a vacation tour. Charles Parks wrotd the book and lyrics of “Genevieve which is to be produced in the fall. Henry Hull, leading man in “The Cgl and the Canary.” has written a play i awsociation with Leighton Osmun call Manhattan.” It is to have its initial presentation at Asbury Park early nexl month. Bide Dudley’s Jatest musical comedy; “Sue, Dear,” will play Long Branch uu‘ Asbury Park the week of July 3 un then go into New York for a rum Joreph Herbert has rewritten the book. Olga Steck will have the title role. Herbert Waterous has been engaged for the Gilbert & Sullivan revivals. which John 8. Carlin, in conjunction with De Wolf Hopper, will make at Carlin'd Park, Baltimore, with the usual hope that the permanent opera company can be effected. The 150th performance of John Wi lard’s play, “The Cat and the Canary broke over the Natlonal Theater, New York, last week. Eddie Nelson has commissioned George E. Stoddard and Fred C. Heren- den to write the book and music of a revue in which he will be booked in Shu bert vaudeville next season, the same 10 be called “Echoes of Broadway Harlem is shortly to have anothe? theater to boast about. thanks to the enterprise of K. F. Albee. He had purchased a plot of ground in 12ith street between 7th and Sth avenues, and it will serve as the site for a new B. F. Keith house to be erected in the autumn. The new theater will seat 3,000 and is to be called The Harlem. Another new comedy is zbout to be launched for the edification of New Yorkers. It is “Patricia,” and is the founded on her own mnovel, Grass ond Broadway.” Miss Davies is also the author of “The Melting of Molly," which also was dramatized for the stage. Gordon Dooley. long scen in vaude- ville with his brother, the late Wii- liam Dooley, has formed a partne ship with Alan Coogan, formerly Mullin and Coogan Directorial Methods Change. manded that each actor should give an exact reproduction of his pe fcrmance. There were few actors who knew enough about this new technique to be trusted. The fault was not theirs, for it was not a mi- ter of intelligence, but rather of ex- perfence. “With such work were the director's nights and days filied. 1 think.1 need do no more than point out the humor- ous possibilities of a director, not noted for a syphlike figure, Instructing an ingenue in the art of making love. “The modern director no longer at= tempts to pliy each role. In these days he is handling men and women who probably know as much, is not more as, than he knows about characterizations —espectally of the roles for which they have been chosen. To impose his ideas upon them would be to make the pic- ture as stilted as most pictures were in those days which now seem so ancient. “It Is this growing knowledge of tech- nique among actors that has released the director from work which produced, except in rare instances, nothing better than second-hand acting before the camera. It did, of course, produce screen technique 2s we know it today: but only after the actors, with an un- bounded instinct for acting. seized upon the director's ideas, discarded some’ of them and improved other: I “The director of vesterday—and I was one of them, for I had to learn t to put the maximum amount of action into his plctures, We still use action. for by the very nature of motion plc- tures we must have action; but we have learned to use it as a means to an end, rather than the end itself. Be- hind the action. motivating it every minute, we must have a genuine theme, worked up by careful characterization and incident. A head-on collision of two trains is a thrilling bit of action; but it is by na means so thrilling as the mere off-stage slamming of the door in ‘A Doll's House' if it has nothing real behind it. We directors are working for that reality—and 1 do not mean realism— without_which any art becomes plain i That is the work of the director New York’s New Theater. W YORK. June 24—Where once Gen. Washington greet- ed Gen. Putnam in the forest on the outskirts of New York a new theater, more magnif- icent than any of its reighbors, is to crowd in among the towering sky- scrapers. Milllons are to be poured into the development of a property that the original John Jacob Astor acquired for $25,000. 1t was the pur- chase of this tract and its extension westward to the Hudson river that started the great Astor fortune. . The romance of early New York !s woven into the development of this ction of the land fronting on the ::enl side of Times square, now occu- pied by the Putman building. This tremendous _traffic _focus, where Broadway bisects 7th avenue, and 424, 43d and 44th streets cut the In- tersection at right angles, was on\'zl 2 sort of opening in which Broadway and Bloomingdale road came to- ther. ge“«'hen George Washington was be- sieging the British in New York, with his headquarters where the present Putnam building stands, he was so far away from the city that he was entirely out of range. Crossing the wooded no man's land between ‘Washington's army and New York city was a journey. History has re- corded admirably the feat of Gen. Putnam in breaking through the Brit- ish cordon and reaching Washing- ton's headquarters. It this meeting on September 15, 1776, that gave the Putnam building its name. The famous policy of the Astor family to hold to real estate bore such remarkable fruit through the years that this little piece alone, with its improvements, is now worth over $6,000,000. At the time of the pur- chase the “Astor” tract comprised seventy acres, its approximate bound aries being what are now Broadway, a little below 43d street and a littia above 45th street, diagonally acress $th, 9th, 10th and 11th avenues to the Hudson river between 48th and 51st streets. . Following the will of the late Jéhn Jacob Astor, who went down on tha Titanic in 1912, Vincent Astor Octo- ber 3, 1919, sold the remainder of it to the 1493 Broadway Corporation, & subsidiary of the Famous Players- Lasky Corporation. Now Famous Players-Lasky is to convert the rear of the property into one of the larg- est theaters in the world, seating 4.000 people. The entrance will pass through the Putnam building from Broadway. The Putnam building 4t- self will be extensively improved, the plans calling for the expenditure of between $2,000,000 and $2,500,000. wooded 0 WOR° — — —— —— Stage as School for Screen. «rTHE stage is the achool for the screen,” says Henry King, the motlon picture director. “I say that the stage is the proper school for the motion picture star because it teaches him presence, the value of emotion, attention to detail and gives him the rigid training which is necessary to fit him for studio life. Stock com- panies have produced some of the Dbest motion picture stars. “Motion picture stars of the first light invariably have come up from the ranks. Charlie Chaplain achieved recognition by an insignificant part in a Sennett picture when he ap- peared as a referee in a prize fight. It was but a wee bit of business, blut Chaplin walked away with the pic- ture, he manifested such artistry. “The time will come.” Mr. King predicts, “when every member of a motion picture company will have to e or ‘persons who think they have that touch of genius which mal a star, and who are wllllnfl to tle down to hard work, there is a bright future in the art today. Directors are always looking for new types. Every crowd of ‘extras’ used on a set is closely watched for the small touch of genlus, Stars wane, of course, and the public is always eager for a new light in the constellation. “In other words, if you've ‘got the goods’ you can make your way in.mo- tion pletures. ~If vou haven't. no amount of training is going to make any difference. 1f you did a thing for fifty years and lacked the spark of genius to make it an art, you Wouldn't be any #further at the end of the half-century than you were when you started.” Ten Floods Required. THE supreme climax in the screen drama, “The Town That Forgot God.” is the flood scene in which an entire village is swept away by a great onrushing torrent. This scene was staged in New Jersey and it was necessary to erect thirty small homes and other frame bulldings arranged | to give the appearance of a villags street. This entire “set” was sur- rounded by a wall of conerete abou: three feet high—this, of course, befnz beyond the camera sone and invisible to the spectator. The thirty frame bulldings repre- sented an outlay of more than 250,000 feet of lumber, and some 10,000 shin- gles for the roofs. Although the cos of this scene was very great, it re- quires only a few minutes to show it being wrecked, on the screen Inasmuch as all th ‘shots” of the scene were not made at one time, and it was necessary to create this flood six_times before the desired effects were obtained, the bulldings wrecked each time were repaired before the next “shooting” of the scene. More than ten weeks were consumed in ‘completlll the flood scene. Several of the houses were cém- pletely furnished. and the finished picture, showing the wrecking of the shows also the washing away home: Forgot God." the written by “Mr. story of which wi X,” 15 one of a dozen or more speciui productions scheduled for release by William Flood during ! The flood sceme is the most stupen dous of the sort ever effected from the next seaso. standpoint of dramatic accomplishe ment.

Other pages from this issue: