Evening Star Newspaper, July 23, 1922, Page 45

\ ERSATILE comedian, big-game hunter, horseman, rifle-shot, Fred “‘tone has immortalized himself along ith Andrew Carnegie and other lit- «rary benefactors. This week at the midweek lunch- con of the Nuational Vaudeville Association, Fred Stone, the newly slected president of that stalwart rganization of 10,000 happy ,artists, iccepted his official designation with ride and dignity and signalized s installation by presenting his fine nd extensive collection of Western hooks 1o the newly formed library of the N. V. A. Club. In this gift he was supplemented by the generos- ¥ of his brother-in-law, Rex Beach. emost of American novelists, and »mpanion and guide to Fred Stone 1" many a big-game hunting expe- ditipn into the far places north ani west and himself a vaudeville “fan’ the highest enthusiasm.. . Fred speech Ston of so he declared acceptance, in his is a product | "AMUSEMENTS." Gives Library to Club. of vaudeville, and he is as proud of his professionai orfgin. He is also enthusiastic about the finest and sanest theatrical organization yet formed in the world, “and that's the N. V. A.” he said, “for now it includes the graduated stars of every branch of the stage—grand opera, the drama, musical comedy, the motion picture and the concert stage. ~ Prepident Stone then proffered his ‘Western Library” to the club as his first official demonstration of actual service to the organization. He followed up his princely gift with a general and particular inv tation to all of the members to be- come visiting or permanent members of the rough-riding, rifle-shooting, broncho-busting colony at Chin-Chin Ranch in Amityville, L. 1, where, as he expressed it, “you can a horse or an act or a rib just as you feel inclined. I will supply the horses. But you must bring your own act or your own ribs if you want to try 'em out or break 'em in What Pictures TH_I’: future of the motion picture is in the hands of the authors of this generation, according to Henry King, director for Richard Barthel- mess. “When Shakespeare said ‘The play's the thing’ he gave utterance to £ s1atement which is as true today for motion pictures as it was for the the- ater batk inu the d of Avon” Mr. King insists. “You n have the best actor in the world °r Your star; have him supported by superb cast and have your picture 11 absolutely flat if you haven't a real heart-throb story.” Mr. King is of the opinion that when the bitter scars of hate have been softened by time the recent world war will offer to many of the present- day authors wonderful material for ories which can be dramatized for the screen. He calls attention_to the popularity of the civil war” story after the terrible tragedy of the fight between brothers had been partially essenced by time. $ Every war in history has been fol- lowed by an epidemic of good fiction,” he adds. ‘But not alone on the war are we =0ing to be dependent for screen ma- riai_in the future.” he continues. The fate of the motion picture is In the hands of the young author of today. He will be the screen writer of the morrow. “The tastes of the people change. and what ten years ago was a best seller today is of no consequence so tar as dramatization for screen pur- poses is concerned.” s of the Bard | o | Need. “Young authors who are absorbing atmosphere in huge fuantities now- adays are fitting themselves for scréen writing uncousciously,” Mr. King goes on to say. “What the public wants is six reels or more of an episode which could happen in their own lives. “The motion picture industry is no different from any other. You can't foist bad plays on a discerning public any more than you can palm off an unbecoming hat on a customer in a millinery shop. In a word, the pub- lc is ‘wise to you.' They're from Mis- souri. You've got to produce the 8oods, all-wool and a yard wide.” Mr. King also calls attention to the wonderful field there is for success- ful scenario writers today. “They can take a poor story and build it up Into a wonderful picture if they use their imagination and common sense,” he explains. “They can take a wonderful portrayal of characters, without the ghost of a plot, and lead them through a series of intriguing, interesting adventures which the camera will eat up. “The public is little aware of the hard work necessary to make a good picture out of what is considered a good book, but which really lacks the stirring qualities necessary for a mo- tion picture. If the scenario writer fails in this respect afte: burning the midnight oil for weeks it's up to the director, and you will find him in the studlo, laying aside the script and changing incidents as the picture is made, so that the public shall get what it is entitled to—a good story. The studig is really the acid test for the story.” History and the Movies. “FROM the past come® the lessons by which we shape the future,” recently asserted George Melford, in- structor in motion picture history at the Paramount Stock Company School. “This Is the reason why I regard the course In motion plcture history As one of the vital departments of the school and why I was very glad {0 accept the position at its head. “Suppose when you were in high school your history teacher had been able to give you a vivid account of his personal experiences at the time Rome fell; suppose he had fought in the American revolution and could paint you a word picture of what he aw at Lexington and Yorktown, vouldn't that have been better than getting it out of a book? “Well, T will be able to tell the ybunger members of my class how we made the one-reel ‘dramas’ that they used to see for a nickel or dime at the ‘store show’ in the middle of the block, where a wheezy, mechanical organ ground out inappropriate tunes. I don't take credit for this; it just happens that I started In the motion picture fleld nearly a score of years ago in a one-reel picture in which Arthur Johnson was a star. (We made a ‘one-reeler’ in a day in those days.) “Then 1 went to_the Kalem Com- pany, where Sam Long, one of the partners, was the camera man. 1 was acting, you see, at that time. Once, after a hard day's work, we came wearily back to the studio, only to learn that Sam had forgotten to take the cap off the lens while he was ‘shooting.’ so that we had it all to do again. But that isn't history; it's human nature, which makes history. “We do not have to keep alive in the breasts of our young students the memorfes of our ploneers, for they are still with us—our Grifiiths and De .\l!lllles. our Neflans and Tngrams—and sti making pictures which are a ure and an inspiration. So often has it been said that ‘the motion picture is still in its infancy that we often hear the statement used | as a joke among picture people. Yet it is literally true. for the great ad- vances which we have witnessed in a few vears are but the sign posts pointing our direction—forward! You will certainly never find me, s a teacher of the history of our new art, ‘pointing with pride’ at past achievenients and dwelling fondly on the days that are gone. I was one of the early ones, but I intend will- ingly to bear my part of the work that is yet to be done. “The motion picture must have a sound idealism as the baslis of its progre This is the thing we have lacked ang the thing we are going to have. “Education of motion picture mak- ers no less than of the people who %o to see the pictures will be the great factor ‘n elevating the stand- ards of the motion picture art.” Marshall Neilan ARSHALL NEILAN has returned to Los Angeles following his tour abroad and made his intial an- nouncement concerning the future production and distribution of his product in association with Goldwyn. “Marshall Neilan produdtions, as heretofore. will be handled entirely on an individual basis,” sald Mr. Nei- lan. “My future product will be dis- tributed on its individual merit and ecach production will be made as a separate unit. “T have always contended that every feature should be sold on its own worth and should stand or fall on its own, merit, and I plan to adhers to this' idea. “In assoclation with the Goldwyn company and as a result of this new affiliation recently announced, ar- rangements have been perfected whereby it i possible for me to get away from the program type of pic- tures and attempt the bigger things s New Plans I hL\'e desired to do for some time pa “With the immense facllities of the Goldwyn studios and the various con- nections of this company available for the production of my future pictures, it will now be possible for me to pro- duce a number of stories to which I have had the rights for several years, involving various ambitious under- takings I have been recently work- ing on. ‘“My entire staff, including all the moembers of my organization who have been with me several years and who have contributed to the success lofalzeilnn productions, will remain tn- 2, “While abroad with varfous mem- bers of my staff, and through Euro- pean affiliations, we obtained consid- erable material, including various im- portant scenes for two of my forth- | coming productions. Both these pic- tures, T new in the way of screen entertain- ment, and because of their novelty we feel it best to withhold details as to ! titles and nature of plots at this time. Actors Hard to Find TT is said that finding a pin in the center of a haystack would be a “cinch” compared with the problems which sometimes arise In the mak- Ing of a modern motion picture. T want g0 and s0,” says a director. “He's out of town,” answers the cast- ing department. “Find him," returns the director; “no one else will do.” “And we have to find him.” relates Lou M. Goodstadt, casting chief at the Paramount Studio at Hollywood. “You can substitute one brand of molasses for another and no one will know the difference, but actors, especially for the movies, are picked for the exact- ness with which their individual per- sonalities fit the requirements of a ~haracterization. And ‘some one Jjust as good’ won't do. “It often happens that. just when o player' has finished work in one nicture and left on vacation, a story ~omes up with a part no one else zan fill. And then comes the Sherlock Holmes part of it. Milton Sills left word with his ' Japanese ser- vant where he would be—but when I called to land him for the lead in ‘Borderland,’ with Agnes Ayres, the Japanese had forgotten the me: 1 called twenty-six people, perso! friends, grocery men, doctors, dentists —and finally found a wmechanician ‘who had fixed his car just before Sills left for Palm Springs. “And paging! I've had, actors wanted in a hurry paged every cenceivable way. I hired three different fishing launches to scour the waters near Catalina Island, where Theodore Robérts was secking tuna. An air- plane observer found Wallace Reid for me hunting deer in the mountains -—forest rangers did the res.t “Only recently I paged Clarence Bur- ton at noon out in the center of Cuya- l maca lake, San Diego county, wtih & message to be ready to leave with Gloria 8wanson's ‘The Impossible Mrs. Bellew'® company from Los Angeles, at 9 o'clock that night. And Los Angeles 250 miles away! I know the phones of every hairdresser, modiste and masseuse in Los Angeles—so that I can get any of our feminine players if_they are needed suddeniy. “When players have any idea at all that they are liable to be called they keep closely in touch with us. And when they are working on a picture that of course is part of their Tegu- ar duty and they leave us minute de- ull.%: ?t ttt‘.mr whereabouts. s the unexpected call bet: plctures, the demand that comes ont of a clear sky when the player thinks himself justified in going away that makes it necessary for the casting di- rector to become a detective.” The Supernatural INTERESTING arguments upholding the use of the supernatural were offered by Agnes Ayres and her assisting players to Director Powell during the filming of Miss Ayres’ new starring production, “Borderland,” which {s said to utilize psychic phe- l;)m!lll as an integral feature of its plot t's not necessary to belleve in ghosts to enjoy a ghost story,” Mis Ayres contends. “Whether or mot municate with the living has nothing to do with one's enjoyment of watch- ing suppositional episodes on the screen that attempt to show what might happen if communication be- trum‘-. the living and dead were pos- sible. Miiton Sills is of the opinion that the fanciful in the drama will always attract. “I know two great scien- tists,” says Sills, “who do not believe in spirits, but whose favorite plays are ‘Liliom’ and ‘Peter Pan,’ two of the most successful of all stories in which the supernatural plays a part’ “The succegs. of .the su at in_the drama® says Mr. Powell “ean. not be disputed’ ‘successfully when one considers the success of such productio: Re! Grimm,” “Earthbound,’ peat” and “Peter Pan.” . e o) break in | believe, will offer something ; “iprice of property soars. you. belleve that the dead can com-. 4 The: play was written Nald;i Signs Five-Year : Contract. ITA NALDI, whose work has stamped her -as one of the vivid | personalities of the screen, has just isigned a five-year contract as a mems= | ber of the Paramount Stock Company. Announcement was made by Jesse L. Lasky before leaving this week for Hollywood. 3 When the Lasky studio forces were preparing to produce “Blood and Sand" | they encountered difficulty in finding a jgirl entirely suitable for the exacting and prominent role of Dona Sol. the | Spanish siren. Mr. Lasky was in New | York at the time, and he was ap- i pealed to. He immediately wired that he was isending Nita Naldi to play the part, land suggested that Fred Niblo, the |director; Mathis, the scenarist, and the studioofficlals look at her ‘work in “EXperience” and “Dr. Jekyll and Mr. {Hyde.” In the meantime Miss Naldi was speeding on to the coast, with a contract to play the difficult’ part of Dona Sol. According to_reports from the west coast studio, Mr. Lasky's optimistic promises were more than fulfilled. When he returned from Europe a fort- night ago he found nearly a dozen tele- grams and letters on his desk, all de- talling_the wonderful performance by Miss Naldi, who, according to reports, has given Dona Sol a characterization which will be one of the big acting sen- sations of the vear. What Is “Hokum”? M LJOKUM” or subtle comedy, which? The man who could answer this question successfully and then pro- ceed to draw the line with a master's finesse in the direction of a mo- tion picture could make a fortune. It is an old question that has been argued since the making of motion pictures began, and before that on the legitimate stage. Some pure “hokum” plictures have been successful, but with the development of the art the tendency has been toward a higher typ of comedy. And what is “hokum™? The origin of the term is a mystery. In an ear- lier day everything broad and crude and rough that was designed to cre ate a laugh was called “slapstick.” Hokum” i3 one of the outgrowths of 'slapstick” mething not quite so obvious as pie throwing. but some- thing incapable of bringing out the fine points of humor in telling a story. A man falls over a chair and smashes his hat—that's “hokum.” Some one pulls-a chalr from under a fat man about to sit down—also “ho- kum.” Contrasted with what may be called legitimate humor, a laugh aroused by a subtle situation, it may be seen that the broad joke I3 admis- sible only in pure farce, wherets the other form may be used even in seri- ous drama by way of contrast. “Hokum” has its uses, but must be handled with gloves unless broad comedy Is aimed at—comedy border- ing on burlesqiue. A0 T He Cannot Warble. NE thing on which Raymond Hitchcock does not pride himself his abllity as a vocal As a isinger, he cheerfully admits, he {decidedly out of the runming. He | would never make the e Club, even iin Antigonish Universi: His forte [is public speaking, perhaps, Lut not jgrand opera. His vocal efforts, as has been at Ilimes commented upon, bear striking similarity to those of the widely di tributed crow. when Yet for all that. he does essay a song, few artists can put one over better. Wilness. for example, 11 Dressed Up and No Plcae to Go. ) Hitchoock’s career to date. as the theater-going publio is well aware, has been confined to the sphere of musical comedy and revue. He starred in “King Dodo,” “The Man Who Owns Broadway” and other big hits of an earlier day, and then put on his own show—the various Hitchy-Koos. Last year he was with the Ziegfeld's Follies, and now that the Follies of last season have become eminently defunct. he has essayed a venture into a new art. namely, vaudeville. Whether he will sing or not in his {present vaudeville cffering, Washing- ton thus far has been left very much rk. But if he undertakes which is dubious, his e iforts will be worth watching and { waiting for. Mr. Hitohcock may not {have the range of Emmy Destinn, but in the d ito vocalize. his offering may fall short in res- pect to melody, it is Ilikely {much funnier than anything one sees lor hears at grand opera. ALTHOUGH Jackie Coogan's a little chap. he's a big star. And big stars earn big money. .Try as he could, little Jackie could not possibly spend his earnings, even if he were allowe: The question of Jackie Coogan's earning capacity and what is being {done with his money is answered by Assoclated First National Pictures, Inc. ckie is the miniature Midas of the world. Everything he touches turns to gold. Not only does he {make money in the movies, but he ihas commercial enterprises through lconnections with biz manufacturers Iwhich pay him handsome royalties {on articles bearing his name. | “If Jackie buys oil stocks, they go jup tomorrow. It he buys land, the In short, {he's a demi-John D. Rockefeller, the isplit-pint J. P. Morgan of the world. i “Jackie Coogan will not be eight years old until October. By that time, it is estimated, he will, in his short life, have earned more than $1,000,000. } | { ¥ spite of the fact that thére were no photographers to record the dress and customs of the masses dur- ing the years of the Gecadence of the Roman empire, Cecil B. DeMille, in {his latest picture, “Mauslaughter,” has reproduced wiat is considered to be a faithful reproduction of a scene during one of the Gothic invasions of the capital. The episode in question is a brief historical cutback, but it depicts vividly the arrival of the barbarian hordes In the Eternal city. Weeks of research work by the di- rector by Jeanie MacPherson, scenar- ist of the story; by Paul Iribe, art director of the DeMille productions, and the studio research department, preceded the actual filming of the scenes. Leatrice Joy, who is one of the prin- A Washington Play. WEAT Tom Wise believes to have been the biggest theater party ever given in Washington was held on the occasion of the second appear- ance here of “A Gentleman From Mississippi.” The show was booked for a week's run at the Columbia Theater in 1909 and Mr. Wise, who played the title role, says he “visited the Capitol and told Jim Gordon, then Uhited States nator from Mississippl, to ‘Invite whomever he wanted to the openfhg performance. As & result practically every member of the Senate and many members of the House were In at- tendance. “A " Gentleman From' ‘Mississippi” comes about as near to being an afl- ‘Washington production as is possible. A by Bar isy he has ample lung power; and while | to be | lopentng pertognancr Miss Gladys Alexanders Spanish crinoline of gold cloth and lace, worn at Kel | BY ELENORE DE WITT EBY. *A TURN IN THE DARK." pre- sented by the Garrick Players last week, was more concerned with thrilling adventures and spooky hap- penings than with fashions, but Miss imogen Taylor appeared in several dainty creations in the roles of Vio- let and Estelle Van Kyl, twin sisters. As the action of the drama took place in 1876, Miss Taylor's first frock, shown in the accompanying sketch, was quaintly suggestive of the period. The bodice was cut with a slighti rounded neckline, bordered with a wide bertha flounce of lace, and with diminutive sleeves, also edged with lace ruffles. The skirt was long and, of course, very wide, with tiers of rufied flounces of self-material circling it. A narrow girdle tied around the walist and ended in a pert bow at the back, while a black velvet ribbon bow at the bodice front added the finishing touch. Miss Taylor wore with the frock an old-fashioned straw honnet daintily trimmed with vari- colored flowers. As the other sister. supposed to he jan invalid, she appeared in a lovely Necessaries Hard to Find f--CuAcmlA.\'. New York, 1885; foot- | man same; two New York pa- trolmen, s=ame date; date.” This is the way a Iist of the prop- [erties required for the screen ver- ision o “The Old Homestead” read at the studio before work was started. Sounds simple, doesn’t it? But how ymany are there who can say just how a coachman, butler, footman or { policeman looked in that perfod? { Even if you lived in those days and | was old enough to notice such things, it is an even bet that you can't re- call such minor facts, which become vitally important when a motion pic- {ture is to be produced dealing with ja period moderately remote. i It is one of the problems encoun- jtered by James Cruze in the direction fof the stage classic, which is being produced on an enlarged and elabo- | rated form. but, as to time and char- iacters it is being falthfully copied. i The people who seec pictures and hasten home to write to a fan maga- ‘zn\(l concerning some flaw or anach- | ronism they have discovered, do inot aiways remember that there are a thousand chances of going astray. | And the research department is kept busy all the time digging up facts |and data for just such requirements as these. butler, same Jackie Coogan’s Money. “What are they doing with Jackie Coogan's money? Here's the answer: “Jack Coogan, sr., the starlet's father-manager, has a salary all his own for supervising his son’s activi- ties. Jackie's contract with Sol Les- ser, the producer, is made in his own name. A trust fund has been created to take care of the boy's earnings, and all investments are carefully looked Into. Hundreds of dollars a week are paid out by Jackie for charities. He is a constant contribu- tor to the Children’s Hospital and many other charitable institutions. { The deed to the home that houses the Coogans is in Jackie’s name, as well as many other valuable real estate properties. Cobgan, sr., supports his family on the salary he earns as Jackie's manager. “The main idéa in Jackle's ‘dad’s’ mind is that the starlet may, when he grows up, be Independent and find it unnecessary to pursue the diffi- cult path up which he himself had to struggle. ‘Also,’ says Coogan, sr., ‘1 want to keep Jackie from marrying until he is twenty-five years old.'” Ancient Rome Reproduced . story, is the hostess at a lavishly beautiful Roman bacchanal, which is interrupted by Thomas Meighan in the role of the leader of the Goths. Lofs_Wilson, John Miltern and Cas- son Ferguson are the other. members of the notable cast appearing in this sequence A striking realastic gladiatorial combat {s one of the many interest- Ing foatures of the bacchanalian en- tertainment. Here, again, Intensive research work was done on the prob- lems of costumes, customs and mat- ters of procedure. Although the episode required more than a week to film and kept nearly 1,000 rnnnu employed, it will oc- cupy the screen for only a few min- ute: It is used to point a powerful n and serves to draw a com- parison between ancient: Rome and modern America. lclplh of the modern portion of the rison Rhodes and Mr. Wise; its scenes are laid in the old National Hotel, the Senate office bullding and a residence in Mount Pleasant and its action cen- ters entirely in and about the Capitol. Mr. Rhodes d Mr. Wise claim they wrote the play after having first made a personal study of senatorial types. It had its premier at the |lh7nll Theater on the night of Sep- tember 20, 1908. It afterward ran three successful seasons and at one time five companies had the show out on the road. Mr. Wise headed the cast in the original production and in his support was Douglas Fairbanks in the role of a nmewspaper reporter. “Johnny” Wil- liams, at that time a Capitol corre- spondent and now the editor of a newspaper in Boston, is sald to have been the inspiration for the newspa- per part in the ?lly. The late President' Roosevelt and ‘members of his family, Justice Taft, Julius Kahn, & boyhood friend of Mr. Wise, and distinguished members of the diplomatic corps attended the Evening creation of white satin, peari-incrusted, worn by M Eva Shirley. neglige of rose-tinted silk chiffon. The sleeves were draped with double folds of the fragile fabric and fell away from the arms in long, graceful points. Then there was an overtunic finished at the lower edge with a gar- land of chiffon rosebuds, and & foun- dation slip of accordion-pleated geor gette. A bow of French blue velvet appeared at the throat and a larger one at the walist to give a bit of color contrast to the creation. The play ended with an epilogue forty years later, and in this the little actress donned a large white wig and an appropriately conserva- ytive evening gown of black velvet, designed with wide double shoulder straps supporting a surplice bodice, and a long skirt with panel trim- ming. Miss Eva Shirley, appearing for a second week at Keith's, wore the elaborate dinner gown fllustrated. The bodice is fashioned with an apron fold at the front, extending into ribbon ends, which knot at the rear, and with ropes of pearls falling from the shoulders to form a “V" at the back. The white satin me- dium Is incrusted with pearls and sequins in an elaborate motif, while large single beads dot their way NORMA PHILLIPS, known in mo- tion pictures, has joined the cast " at the Morosco Theater, *“The Inevitable,” having ended a try-out tour at Stamford, Conn., will be taken to New York in September. “It's a Boy,” which Sam Harris préduced in Atlantic City last week, } will go to New York in the fall. Olga Petrova sailed for Europe last week with her husband, Dr. Stewart, to geu local color for her new play,| which is lald in Naples. Robert Woolsey sailed for London last week to see at Daly's Theater “The Lady of the Rose,” which he will play In New York with Eleanor Painter. Marion Sunshine will be one of the starlets in Arthur Hammerstein's new musical piece, “Daffy Dill." j Ralph Morgan has signed a con- tract with Kilbourn Gordon to appear under Mr. Gordon’s management for some time as head of a specfal com- tour with “The Cat and the Among Augustus Pitou's plans for next season are the presentation of Fiske O’'Hara, in “Land o’ Proml May Robsop, in a new comedy, “Mother's Million: by Howard Kent Barnes; Elsa Ryan, in “Intimate and the. placing on tour 'im Passes By. Vivienne Segal will have the title {role in A. L. Erlanger's production of “The Dancing Girl.” to be shown first at Philadelphia, in September. The | piece is a partly American version of “Die Bajadere,” by Emerich Kal- man, with adapted-book by William Le Baron and Iyrics by Bud de Sylva. Joseph M. Gaites announces that Wilton Lackaye “will pick up the leading role of “The Monster’ from the spot where it slipped off Arnold Daly as he sped from rehearsals.” Olive Tell has been engaged to do some of the prominent whispering in the new play, “Whispering Wires.” Leo Carrillo, now completing a vaudeville tour on the Pacific coast, will be starred by Oliver Morosco in a new comedy by Edward Locke, en- titled “Mike Angelo. Stanley Howlett will direct “Twi- 1ight of the Moon,” by Charles Bux- ton Going; “The Importance of Being a_ Roughneck,” by Robert Garland; “Possession,” by Lawrence Housman, and “When .the Whirlwind Blows," by Essex Dane, the four one-act plays which will be produced at the Threshold . Playhouse, New York, ‘Tuesday night. % Marguerita Sylva, now singing in grand opera in Los Angeles, will be seen on the dramatic_stage in New York in the fall in a Spanish drama. The will of Mrs. Annie Elroy Foote, National Irish Opera Quaint frock worn by Miss Imogene Taylor fa “A Turn in the Dark.” around the slightly curved neckline and_wide armholes. The skirt is slashed Into rounded panels, give the hem a scalloped outline and at the center front there is a s0lid panel composed of loops of pearls. The satin folds at each side show a repetition of the intricate pearl pattern embroidered on the bodice, while the rounded panel ends are fringed with pearl loops and dot- ted with tiny ermine tails. A dash of color is added in a green ostrich ornament placed at one side of the bodice. Miss Alexander, also at Keith's, ap- peared in the crinoline gown sketched at the left. The foundation of the bodice is of brilliant gold cloth and it is velled with gold metallic lace The skirt, held out by a large hoop placed at’ the hips, is in three sec- tions, the upper and lower of gold cloth, and the dividing one of lace. A long sash of scarlet ribbon adds an exotic color touch as it circles the waist to tie in a loop at one side, and sprays of large poppies Taid at_random across the skirt further heighten the effcet A large Spanish comb in the coiffure and slippers of {red satin identify the creation as typically Castillian. ~ In the Spotlight mother of Mrs. Robert Treman, who was Mrs. Vernon stle, the dancer, was filed for probate at White Plains, N. Y. last week. The will ‘| training for housekeepers,” says Violu | which | FILMO RUSSELL PRODUCTIONS, Inc. al- ready noted for the “little pic- ture” demonstrating the ‘“how” of making a radio receiving set for 60 cents, will make a production called “Saved by Radlo,” starring George Larkin, in whose support will appear Jacqueline Logan, Harry Northrup and Andrew Arbuckle. Zazu Pitts 15 to return to the screen. The comedienne whose por- | trayals of rural and eccentric charac- ters have established her as one of the most amusing motion picture en- tertainers, has been signed by Metro for an important role in “Country | Love,” the first of the special story productions in which Billle Dove plays, under the direction of Emlle ! Chautard. “Country Love” was writ- ten by Hulbert Footner and was pre- pared for the screen by Edith Ken- | nedy. i Irvin Willat, producer of many: powerful screen successes, has been | engaged by Metro to direct “All .the Brothers Were Valiant,” a_thrilling #ea melodrama, written by Ben Ames Williams. Actual production s to| start in Hollywood within three ! weeks, “Motion pictures are a school of Dana. ~ “In nearly every picture 1 have been given a part which at some point shows me dolng work about the house,” says the screen| actress. “Nearly every one calls for | a cooking scene. There was one in| ‘The Five-Dollar Baby,' ‘Cinderell’s Twin' and ‘Blackmail,” and now 1 am cooking in ‘Page Tim O'Brien’ Its| acting that has to be done right, be- | cause you can't fool women on a sub- | Jject like that. They can Pell by the way you handle & rolling pin or a flal(y_on whether they're strangers to you. Cullen Landis will be leading man in the cast. headed by Billle Dove, in “Country Love,” based on Hulbert Footner's stor: The picture is now being produced under the direction of Emile Chautard at the Metro studios in Hollywood. Some of the finest blue ribbon vi of this scason's southern ] horse show are pictured i | “Rich Men's Wives,” the B. P. Schul- | berg special production. which was | directed by Gasnier, and which has H(Juxe_ Peters and Claire Windsor for s chief actors. It is a Frank Dazey- Agnes Christine Johnson story. A cyclone which tore the roofs off a f-dozen houses. damaged a | chu and made refugees of the Inhabitants of an entire village formed an interesting feature of a recent week's work on “The Old Homestead,” which James Cruze is directing for Paramount, with Theo- dore Roberts in the historic role of Joshua Whitcomb, George Melford and company are spending all this month on a tropical island in the Pacific filming scenes in “Ebb Tide,” the famous Robert Louls Stevenson novel, which he is making into & motion picture. The cast includes James Kirkwood and Iila Lee, in the leading roles; George Fawcett, Raymond Hatton, Jacqueline | Logan and_ Noah Bee Lorna Moone and Waldemar Young collab- orated in the adaptation of the famous work. Robert Ober, who has played 1|1.‘.l many biz New York successes on the stage, including “Fair and Warmer." “What's Your Husband Doing?" ‘Princess Pat,” “She Walked in Her Slecp.” “The Brat” and “Sonny," {now working in Paramount pictur: Uber was recently engaged for Cecil 5 ille’s “production, “Man- slaughter”; then for a part in Irvin V. Willat’'s “On the High Seas” and | AMUSEMENTS. ~ Colleen Moore, CRAMS “The Christian” company has ar- rived at the Goldwyn studios from England, and Maurice Tourneur has begun making the interior scenes. All of the exteriors were made in Londui, Epsom Downs and on the Isle of Man George Periolat, who plays in the: Basil King picture, “The Dust Flow er,” recently released by Goldwyn was on the speaking stage for seven teen years before cntering picture He has supported Otis Skinner, Jull; Arthur, Adelaide Thurston and other well known stars. William de Mille’s slouch hat and?® pipe are again very much in evidence around -the West Coast Paramount studio. Mr. de Mille has a special pipe and a special hat, which are a. Sure sign that he is directing a pi ture. The pipe is generally out, and* the hat has weathered some eight. summers, but he never starts a pic-. ture without them. “Clarence,” an adaptation by Clara Beranger of the. play by Booth Tarkington, with Wal- lace Reid, Agnes Ayres, May McAvoy* and several big names in the cast, is Mr. de Mille's latest production. Sidney Dean, who worked in the first picture Cecil B. de Mille made on the coast, “The Sguaw Man, has becn added to the cast of Alice Brady's pic- ture, “Missing Millions” which is now in production at the Paramount Long Island studio. x “Captain Blackbird,” R. A. Walsh's® first big picture for Goldwyn, is &n action-adventure story of the souia seas written by Carey Wilson. Tre cast Includes House Peters, Antonio Moreno, Rosemary Theby, George Siegmann and William V. Mong. 7 7he entire company has been sent to T¥- hiti that the picture may be filmed among the scenes where its action takes place. roken Chains,” the $10.000 prise- winning scenario, was given to Allen Holubar to direct. Its fascinating development of the theme of regeén- eration struck Mr. Holubar as forci- bly as it did the judges in the Chicago Daily News contest. In the cast are Malcolm McGregor, Claire Windsor, Ernest Torrence Beryl Mercer, Willlam Orlamond, James Marcus and Leo Willis. “A Blind Bargain” is described as a thrilling and amazing mystery story. It is a novel drama of suspense in {which & young author blindly signs himself into the hands of a mad wiz- ard of surgery. Through it runs an appealing love story. Lon Chaney has two dramatic roles. “Remembrance. itten and di- rected by Rupert Hughes, is said to have all the drama and heart interest and humor that Mr. Hughes wrote into his triumphant “Old Nest" It is claimed to be a drama of the father, and as_stirring and as ten—. der as “The Old Nest.” > “Hungry Hearts,” directed by E. Mason Hopper from Anzia Yeziersha's book dealing with Russian immi- grants and the American melting pot, is so stirring and true to life that Goldwyn believes it will prove the big outstanding sensation of the coming year. It possesses drama of tremendous power, pathos that draws tears, and rare touches of humor. Many of the scenes of “Gimme" will be photographed on the magnificent estate of Mre, C. Templeton Crocker at San Mateo, near San Francisco. Permission to use the estate in film- ing the new Rupert Hughes picture obtained through the Assistance League, a Los Angeles charity. Gold- wyn will pay rental, the money go- Ing to the Assistance League. The finest fashion revue ever staged in a plcture—four beautiful models of the famous troupe of Peggy Hamil- “the Lady Duff Gordon of Ameri- displaying fashions that won't- be seen in Paris or New York until three months after the release of the disposes of an estate in excess of | Now he is playing the principal heavy { pictures. it is claimed, are shown in $100,000. The estate is divided equal- | 1y between her two daughters, irene and Mrs. Elroy Bradford. “Wild Oats Lane,” the new George Broadhurst play, was taken to At- {lantic City last week for a try-out. At the head of the cast are Maclyn Arbuckle, Douglas Wood and Richard Barbee. Word has been received from Dixie Hines that Hans Bartsch, play agent, has returned from Europe with more | than fifty last vear's music and dra i matic successes abroad in his pos- | session. They will be allotted to ,New York managers and produced i the coming season. | Donald Gallagher, assisted b {belle D'Armonde, will play the {ville houses, appearing in sketch written by William Anthony McGuire. Mr. Gallagher was seen in “Golden Days.” Gloria Dawn has been engaged by Carle Carlton as understudy for Juha Sanderson for the season of 19: In addition, she will play one of the principal parts in “Tangerine.” Augustus Thomas has written “The Black Flag,” a fantastic comedy drama, which Walter Hampden will include in his repertoire next season. Pauline Frederick has begun re hearsals In “By Right of Conquest.” a new drama in three acts by Michael | Morton and Peter Traill. er the ! direction of A. H. Woods. This play { will mark Miss Frederick's return to ! the speaking stage after an absence { of eight years, in which time she has { been appearing in motion pictures. i Nazimova expects to return to the | matic version of “Salome,” according ! to a statement from the office of the Nazimova Film Productions Com- pany. Morris Gest has been so successful with the Russian players in New York that he is now negotiating for a second company from the Moscow :Art Theater. This organization | i said to be better than the “Chauve- | Souris.” Gertrude Hoffman will head Arthur Kleln's revue, “Hello. Everybody.” this autumn. Her chief support will include the Londer Brothers. the team of comedians well known to vaudeville. “Hello, Everybody” is in twelve scenes and is the work of McElbert Moore, | through the country this season with their dramatic triumph, “The Bat.” They will open the coming, theatrical season in N { Leave Home,” a smart societ i by Avery Hopwood. y comedy se E aim at forming a permanent national Irish opera,” sald Thomas Egan, Irish tenor, a director in the Irish Music Foundation, in the New York World recently. . “The idea originated before the war,”. sald Mr. . “I was singing at Drury Lane, London, at the time, the only Irish tenor in a company of Ital- ians. Friends began asking, Why shouldn’t an Irish opera company be formed entirely of Irish dingers to ren- der Italian opera in Gaelic? The ques- tion is now being gradually answered. “We could not make progress while the war was on, nor while there were troubles in Ireland, bvt I think things are quieter now and that we shall be able to advance. Even so, we do not begin till 1923, when the concert tour opens at the Theater Royal, Dublin, my cit; . nl""v"‘o v: t to discover and develop unusual musical talent among members of the Irish race wherever we find it, and it is my-duty to seek it in New > ot “Leoracalo, 10 be found gfi.‘;?,w'u' Sthers wil be. Hhamus or: ford; ‘The Bohemian Girl,’ by Balfe, and “Lily of Killarney,” by Benedict. O'Brien Butler, who wrote the first original Irish opera (‘Muirghies’) in Gaelic, lost his life on the Lusitania. ‘We must lighten the program. Gaelic is understood by the chil- dren—who learn it at school—but the | language is so difficult that their fa- thers and mothers, If they have not ac- quired it in childhood, find it beyond them in later years. “We are doing evervthing possible to foster Irish music. We are collecting and collating old songs and airs the existence of which has hitherto been unsuspected. I am hunting now for an opera by O'Dwyer that has been lost. “People’s eyes will open when they realize what songs there are that be- long to Ireland. “T have the duty of sifting all the likely singers In New York. and they are coming along well how.” m‘?m:)u other aims of the Irish Music ndation are the following: “To urge that literary works on Irish music be catalogued in all public libraries of the world. “To promote a worldwide educat campaign to secure recognition for the olassic music of Ireland, to authenticate its hllti:’r!“:tnd to stimulate future prog- ress an erest. - X *To publish and promote the sale of a complete history of Irish music from ancient times to present day. “To publish and circulate periodieal Charies Villiers Stam-.issues of a journal of Irish music.” * | speaking stage next season in a dra- | with music by J.{ Fred Coots. | Wagenhals & RKemper are plan- ning = another sensational sweep ! York with “Why Men | role in support of Rodolph Valentino in “The Young Rajah.” “Her Night of Nights,” the current attraction at Moore's Rialto. Color Pictures Soon. Isonmm:\'rs new in motion picture | |~ color photography Is promised in {the Penrhyn Stanlaws production {of “Pink Gods” for Paramount. The picture itself is not to be done in| { colors. but the titles are to be ren- dered in tints by this new process { from paintings by B. Cory Kilvert, a | well known artist. | Mr. Kilvert's drawings will be| { translated to the screen in their orig- | inal colors a process which i being worked out by R. J. Pomeroy, a skilled technician. “Since the motion picture does not as yet seem to be able to get along | without interpolated reading matter,” | Mr. Kilvert savs, “it is our aim to| have the titles carry along the action | and visual idea of the scenes with] as little interruption as possible. The process we are using allows the use of two colors, and my problem as a color artist is o devise varied and | harmonious combinations of different tints. Moreover, we have the pleas- | ant feeling of being pioncers, for, al- | though color has been used In dra-! matic pictures, it has not been un- ualifiedly successful.” The essential thing about the Pomeroy process is a positive stock coated with emulsion on both sides. {1f. for example, the color scheme is based on red and blue. one side of | {the film will be dyed with red and! the other side with blue. { Due to the fuct that special color i SAPHE artistic advance of the motion picture will be in the direction of a greater simplicity,” says Penrhyn Stanlaws, producer of many Para- mount features and an instructor in pictorial values in the Paramount Stock Company School. “The coming to the cinema studio of such men as B. Cory Kilvert, Paul Iribe and F. Pinney Earle will have its certain result in greater beauty on the screen,” according to Mr. Stan- laws. “Particuuarly in the matter of settings their influence will be in the direction of simplicity, and we {will see fewer settings designed to |represent homes of refinement but filled with bad assortments of furni- ture, and the wall spaces. Wwhich imight be so pleasing, covered Wwith too many pictures. “I do not overlook the fact that the room must reflect its occupants. But that is just the point. People of wealth and cultivated taste are most likely to surround themselves with simple, beautiful things. In one of Daniel Breeskin Engaged IBEGINNING with the nmew contract year, July 30, the augmented or- chestra at Crandall's Savoy Theater and Garden will be under the conduc- torship of Daniel Breeskin. Mr. Breeskin. it will be remem- bered, is a brother of Elias Breeskin, i moted concert violinist, and is him- | aelf a solo artist of exceptional talent. His interpretative scores show a keen perception of the trend of popular American musical taste. At the Savoy, Mr. Breeskin will in- sugurate a secies of brief introduc- tory orchestral concerts preliminary to the screening of the feature in the al fresco garden, standard and popular numbers, and including violin solos by himself, with full orchemtral accompaniment. “ Carolina. embracing both l filters are required and a special camera will be necessary in order- to take motion pictures with this process, the experiments thus far have been confined to still life. The use of two tones and their variations affords, it is said, a satis* factory representation of practically any sceme. Mr. Pomeroy's screened reproduction the original paini- ngs by . who have seen them to mark a dis- inct advance in tonal quality. cleas ness and fidelity to nature over any. thing yet seen in cinematography it color. Mr. Pomeroy is an engineer, artist photographer and inventor. whicks unusual combination of talents fitted him for the difficult work upor which he is now engaged for Para- mount pictures. Bofn in India and:: educated in England and the United® States. Mr. Pomeroy was reared in an artistic atmosphere. His father was. a member of the Royal Academy ané' a great friend of Whistler, witk whom he painted in Venice. Roy Pomeroy came to America ir 1907 He studied art under Frank Duvenek in Cincinnati and electrical engineering at the Ohio Wesleyan University. During the war he- supervised an important contract for"” the manufacturing of airplanes an: airplane cameras. He has done con- siderable theatrical work, notably the designing and construction of the =soap bubble illusion for “Happy Days.” a New York Hippodrome show He has also done magazine illustra ing and cover designing. of ¢ Mr. Kilvert are said by tha Simplicity in Picture Art. : my settings there are just a few pleces of weil chosen furniture. Bear in mind that where the furnishingi are so simple they must be absolutely . correct and harmonious. 1 reducet the size of a mantel to one small oval = bracket graced by a beautiful Chin vase. It is much more effective and | restful than the conventional long mantel shelf burdened with heirlooms ; or what not. : “Just two pictures, They balances the vase and the bookcase. The tones are agreeable and harmonious = for, though we do not have color I& . pictures, we have constantly to think = of light and shade. We are, for th¢ s present, artists in black and white though there is no telling how soot we shall have color, in all its beauty; on the screen. i “In other words, in the furnishing = and_decoration of the room I lpel‘_ ‘ of the decorator has been guided by the artistic principles of balance, per = spective and tone, and the result W ; beauty. This is the sort of thing o, which we are going to have more © A Wishing Book. $4] HEARD a new one today.” laughe ed Ruth Roland, as she returnel home from location during the filming of her new Pathe serial, “The Timbeg & Queen.” . “We were taking scenes 'way ouy | on a lonely ranch, over ten milef | from the post office, where a widow lived with her husky sixteen-year-olf boy. The older brother was away and day after day the younger omt trudged the ten miles there and back hoping for a letter. “We had just stopped to rest fa awhile when he returned from hi daily hike. His mother asked, ‘Dic you get any mail today, son? “No,’ he replied, ‘only one o' then wishin’ books’ eneemn) Today. and tomorrow, Gloria Swa son, in “Her Husband’s Trademark Tuesday and Wednesday, Consance Talmadge, in “The Primitive Lover” Thursday, Clara_ Kimball Young, in “The Worldly Madonna,” also Fox Sunshine comedy; Friday, William 8. Hart. in “Travelin’ On"; Saturday, Ethei Clayton, Pathe News and Aesop's Fables. S “‘Wishing books’ queried th mcther. . “Yes, one of them books whict you sit down in front of the fire or { an evening and wish you had thi and wish you had that’ 4 “And that" concluded Ruth, “is the first time I cver thought of the patho: of a mail orde. catalogue.” &