Evening Star Newspaper, September 28, 1924, Page 49

At the Photoplay RIALTO—* and evening. /olanda,” a tale of old France. Houses This Week Shown this afternoon METROPOLITAN—"In Hollywood With Potash and Perlmutter.” Shown this aiternoon and evening. PALACE—“Sinners in hown this afternoon and evi Heaven,” picturing Clive Arden’s novel. ening. COLUMBIA—"“The Covered Wagon,” James Cruze's historic epic. Shown this afternoon and ev TIVOLI—“Fools in_the Dark,” a noon and evening. AMBASSADOR—"In ening. mystery story. Shown this after- Hollywood With Potash and Perlmutter.” Shown this afternoon and evening. CENTRAL—"Women Men Marry” and a Jack Dempsey picturc. Shown this afternoon and evening. LINCOLN (Colored)—"Tarnish.” ning. Metropolitan — "In Holly- wood With Potash And Perlmutter.” “In Hollywood With Potash and TPerlmutter,” Samuel Goldwyn's pic- turization for First National of the essful play, “Business " by Montague Glass and Jules Eckert Goodman, will be shown for the first time in Washington, with Aiexander Carr and George Sidney in the roles of Mawruss Perlmutter and Abe Potash, at Candall's Metropolitan this week, beginning this afternoon. A selected comedy. the Metropolitan World Surv glimpse of secenic heauty and @ delightful musical pro- gram by the Metropolitan Orchestra, under Daniel Breeskin, will complete the entertainment “In Hollywood Trerlmutter” takes 1ers to the West « of motion pictures. 3 2 colossal failure, so they decide to mak i vampire picture” as a sure-fire bLox-office attraction. difficulties, b professional and do- mestic, in which they soon find them- selves afford the finest opportunity the screen has known for ¢ r and amusing satire aimed at the indus- try in which Mr. Gelawyn, the pro- ducer, is one of the leaders. It is tie second picture in the “Potash and Yerlmutter” series and is to be big improvement on the first pic- ture, which was shown last year. In wddition to Alexander Carr and George Sidney, the only actor in America thousht to be equipped to succeed the late Barney Bernard in the role of the senior partner, the cast includes Vera Gordon, Retty Blythe, Anders Yiardolf und Belle Bennett he camera version was made by Frances Mario and the subtitles Were written by Montague Glass. Potash and the famous part- ast as producers Their first effort With Palace—"Sinners in Heaven.” A romance of folded in “Sinners Paramount picture first Washington engagement at Loew's Palace this afternoon with Tiebe Daniels and Richard Dix in the leading roles supported by Herbert Holmes, Florence Billings, Betty Hil- burn and Montague Love “Sinners in Hcaven” was directed by Alan Crosland from the English prize novel by Clive Arden. The ex- terior scenes of the production were 1 filmed in the Bahama Islands. The screen version closely parallels the incidents of the novel and is punct- uated with thrilling episodes, includ- ing an underwater fight between the hero and a native chieftain. Miss Daniels is seen as an English wirl gaged to the man she loved party on a round-the- world hydroplane. In the tropics, tr a and all but the gir member of the party drowned. These two. however. land on the tropic island where the man succeeds for a time in convincing the natives he is a od and where the forces of their nvironment draw the man and wom- closer together. The added attraction will a new Mack Sennett comedy, “Wan- dering Waistlines.” the Screen Al- manac, showing stars of the stage and screen at work and play, the Pathe News and orchestral contribu- tions. Ambassador—"In Holly- wood With Potash And Perlmutter. “In Hollvwood With Potash and Terlmutter” i announced also for ndall's Ambassador Theater the three days of the current week, ning this afternoon. ‘The pic- ture is more fully described as this week’s feature at Crandall's )l’e(rq- volitan. Comedy, news and scenic hjects with pipe organ music by oito F. Beck. concert artist, will be wdded attractions. Wednesday ar= Thursday, Ramon Novarro and Alice Terry will be seen in Rex Ingram’s “The Arab,” 2 romance of the Orient based on the ylay by Edgar Selwyn, and the Spat Jamily, in “Suffering Shakespeare,” svith added short reels. Friday only, Jock Holt and Norma Shearer, in ramount’s production of “Empty nds,” a romane of the Western untry and New York's elite, and 1lter Hiers in his new two-reeler, ort Chang George Arliss, Tay- Holmes and Ldith Robértg will 3 seen Saturday in “Twenty Dollars & Week,” a modern domestic drama. Central—"Women Men Marry." At Crandall’'s Central Theater to- v and tomorrow, beginning this ternoon, “Women Men Marry,” aturing E. K. Lincoln, Hedda Hop- yer and Julia Swayne Gordon with «'vril Chadwick and Margaret Sed- don, a story of present day domes- ity be shown with Jack iempsey’s release i Iight and Win" series, “A Society Wnockout”: new Aesop Fable, “The AMouse That Turned,” short reels and yipe organ music. Tuesday and Wed- sda; “Wine of Youth picturing illeanor Boardman, Johnnie Walker, Niles Welch, William Collier, jr., and others will be shown with Jimmie Adams, in Nerve Tonic,” a new comedy Thursday and Friday, Jackie Coogan, in “Little Robinson Crusoe,” by Willard Mack; the Spat Family, in “Hit the High Spots,” and the Kinograms. aturday, “Untamed Youth,” starring Derelys Perdue and Idoyd Hughe and “Killing Time,” starring Liloy Hamilton. Lincoln—"Tarnish.” “Tarnish,” the screen version of the stage play by Gilbert Emery, will be shown at the Lincoln Theater the first three days of this weck, begin- ning this afternoon. It is a story of modern love combining comedy, pathos and thrills, featuring May McAvoy, Maric Prevost, Ronald Col- man, Harry Myers, Norman Kerry and Albert Gran. “Aggravating Papa.” featuring Jimmie Adams, and the Kinograms will be added features. Wednesday and Thursday, “Vanity's Price,” a story of love and rejuvena- tion, featuring Anna Q. Nilsson, Wyndham Standing, Stuart Holmes, Lucille Ricksen and Arthur Rankin, and also Harry Langdon, in “Flicker- ing Youth” a new Mack Sennett comedy, together with “Children of @ermany”; Friday and Saturday, Ei- leen Percy and Irene Rich, in “Yes- terday’s Wife’ Roach's “Secing Things ity reel, “Bees.” un- the the tropics is in Heaven,” which opens its and a m: clude and a nov- Before | The | Shown this afternoon and eve- Rialto—"Yolanda.” Marion Davies, in landa,” the new smopolitan feature, which had its premier presentation in New York City at advanced prices, will be shown for the first time in Washing- ton today at the Rialto Theater. In it Miss Davies is said to reach new heights in subtlety of characteriza- | tion. Magnificent settings, gorgeous ness of costumes, romance, swift dra- matic action and historical accuracy are features of this production. | “Yoland is a picturization of Charles Major's historical romance, telling how Princess Mary of Bur- gundy. in the masquerade of the burgher girl, Yolanda, wins the love of Kurope’s most dashing prince. The story is set in the fifteenth cen- tury, in the period of Charles the Bold Holbrook Blinn appears as the evil King lLouis X Lyn Harding is Charles, Duke of Burgundy; Ralph Graves, the lover, Prince Maximilian; Johnny Dooley. the half-witted Dau- phin, son of Louis; Leon Errol, star plays the part of a com- < innkeeper, and Macklyn Arbuckle is seen as the bishop, and Theresa Maxwell Conov lan MacLaren, Mary Kennedy, Gustav Von Seyffer- titz, Roy Applegate and Arthur Don- | aldfon also are in the cast. Thou- nds of extras appear in the court und battle scenes. Luther Reed di- rected the picture and Joseph Urban designed the sets. Due to the length of the feature, only an International News will be | shown in addition. Director Bailey F. Alart of the | Rialto Orchestra has arranged a spe- ul musical score in conjunction with the feature. Columbia—"The Covered Wagon." Covered Wagon.” spectacular picturization Emerson Hough's romantic novel of the overland trail in the early days of the West, has been held over for another seven-day engagement at Loew’'s Columbia, beginning this aft- ernoon. This is the splendid photoplay which had a run of four consecutive weeks when first rpesented in Washington at $2 prices several months ago, and which has established itself as one of the most powerful and successful screen dramas of the old West ever produced. J. Warren Kerrigan and Lois Wil- son have the leading roles, while Tul- 1y Marshall and Ernest Torrence, in character parts, offer characterizaitons which have made history.. Over 3,000 supernume: appear in the picture, which reveals in sweep- ing. unforgettable “fashion the epic conquest of the region bevond the Mississippi by the hardy pioneers of the period who braved hostile In- dians, prairie fircs, flooded streams and starvation to establish new homes and bring into the Union a new em- pire. Owing to the unusual length of the production added features have been | curtailed, though a fine musical em- bellishment is provided by the Colum- bia Orchestra, under Leon Brusilof. Tivoli—"Fools In The Dark. “Fools in the Dark,” the first-run screen offering at Crandall's Tivoli Theater this week, beginning this aft- ernoon, is proclaimed one of the most unusual of mystery-thrillers. Matt Moore and Patsy Ruth Miller have the leading roles. The added attrac- tion will be the Abbey Trio of vocal- ists, together with a new issue of the Tivoli's “Mirror of the Living World,” “Tivoli Wanderings” and music by the newly reorganized Tivoli Orches. tra under Lilias Breeskin. “Fools in the Dark” concerns the love affair of an apparently timid scn of a wealthy manufacturer, whose suit is not favorably looked upon by the girl's guardian, a sinister, arro- gant scientist. Much to every one's surprise, he suggests an elopement. This is thwarted, and the girl's life seems to be put in jeopardy—so the youth stays in the house as her pro- tector. Then things begin to happen. The house is a museum of frightful relics, trick panels, self-opening doors and windows, strange lights and eerie sounds. The girl is always just be- vond reach and death seems to lurk in every nook and cranny of the place. But these are only the beginning of stirring incidents that hold the inter- est to the end. The Abbey Trio, three charming sisters, appears in specially staged songs, with origiral scenic and light- ing effects by John J. Payette, in charge of productions at the Tivoli. The Tivoli Orchestra will play Herold's “Zampa” as the concert over- ture and a melodious interpretative score. “The Cruze’ of Apollo. Today and tomorrow, Mae Busch and Adolphe Menjou in “Broken Bar- and Lloyd Hamilton in “Going Tuesday and Wednesday, Jackie Coogan in “Little Robinson Crusoe” and Lyman H. Howe's “Hodge-Podge”; Thursday and Fri- day, Betty Compson and Wallace Beery in “The KFemale” and Mack Sennett’s “Wall Street Blues”; Sat- urday, Estelle Taylor and Pauline Garon in *‘Forgive and Forget,” Earl Hurd's “Boneyard Blues” and install- ment No. 2, *Into the Net.” Avenue Gl‘flfld. Today and tomorrow, Jackie Coogan in “Little Robinson Crusoe” and Cliff Bowes in “Don't Fall”; Tuesday and Wednesday, Mae Busch and Adolphe Menjou in “Broken Barriers” and Lloyd Hamilton in “Killing Time” Thursday, Viola Dana and Adolphe Menjou in “Open All Night” and Har- ry Langdon in Mack Sennett's “The First 100 Years”; ¥Friday, Estelle Taylor and Pauline Garon in “For- give and Forget” and Jack Dempsey in “A Society Knockout”; Saturday, ‘Wand. Hawley in “The Desert Shiek, 'Our Gang' and installment No. 3, “Into the Net.' Carolina. Today and tomorrow, Corinne Grif- fith and_Milton Sills, in “Single Wives”; Tuesday, Priscilla Dean, in “The Storm Daughter”; Wednesday, Broadway After Dark"”; Thursday and Friday, Claire Windsor, in “For Sale’ Saturday, Mary Pickford, in “Rosita. Chevy Chase. ‘Today and tomorrow (doors open 2:30 p.m.), Douglas McLean, in “Yankee Consul”; chronicles of America, “Gateway to the Wesl fables and news events; Tuesday, Viola Dana, in “The Heart Bandit”; Will Rogers, in “The Cake Iater”; Sportlight; Wed- James nesday and Thursday, Pola Negri, in “Montmartre”; Fun from the press and news events: Friday, Harry { rey, in “Tiger Thompson”; Stan [ {rel, in “Postage Due”; fourth episode “The 40th Door”: Saturday (doors open 2:30), Anna Q. Nilsson, in “Half a Dollar Bill”; Bert Roach, in “Why Be Jealous?"; fourth episode, “Haunted Valley.” Circle. Today and tomorrow, “Missing Daughters”; Tuesday, May Allison and Rockcliffe Fellows, in “Flapper Wives”; Wednesday, Leah Baird and George Walsh, in “The Miracle Mak- ers”; Thursday and Friday, John Bar- rymore, in * Beau Rrummei"; Satur- day. Jack Hoxie, in “Ridgeway of Montana. Dumbarton. Today, Laura La Plante, in “Young Ideas”; tomorrow, Anna Q. Nilsson, in “Half a Deollar Bill"; Tuesday, Mary Alden, in “Notoriet. Wednes- day, “Gentle Julia”; Thursday, “The Net”; Friday, Frank Mayo and livel Brent, in “The Plunderer Buck Jones, in “Against Elite. Lenore Ulric, in “Tiger tomorrow, Johnnie Hines, in “Conductor 1492"; Tuesday, Anna Q. Nilsson, in “Broadway After Dark”; Wednesday, Jack Holt, in “Wanderer of the Wasteland”; Thursday, Sylvia Breamer, in “Woman on the Jury”; Friday, Mary Thurman, in “Wife in Name Only”; Saturday, Wesley Barry, in “George Washington, Jr.” Today, Empxre. Today and tomorrow, “Chechahcos™ and Krazy Kat comedy, “Felix Lends a Hand”; Tuesday and Wednesday, “The Blizzard.” and Larry Semon comedy, “Whistles and Windows Thursday and Friday. Johnny Hines, in “Conductor 1492, and scenic, “Hunting in Africa”; Saturday, Ken neth McDonald, in “Yankee Speed and Joe Rock, in “Some Nurse”; also “Ghost City,” No. 9, at matinee onl; Olympic. Today, Frank Mayo, in “The Plun- derer”; tomorrow, Fay Compton, in A. S. M. Hutchinson's “This Freedom"; Tuesday. Charles Ray, in “The Cour- ship of Myles Standish”; Wednesday, John Bowers and Marguerite de la Motte, in “Desirc”; Thursday, Douglas MacLean, in “Going Up"; Friday, Hal Roach's “The King of Wild Horses”; Saturday, “The Blizzard,” from Selma Lagerlof's novel. Park. Today and tomorrow, Betty Compson, in “The Enemy Sex”; Cliff Bowes, in “Pardon U and Pathe News; Tues- day, William Farnam. in “The Man Who Fights Alone,” Mermaid comed: Family Life,” and Grantland Rice's Sportlight, “Building Winners”; Wed- nesday, Viola Dana and Lew Cody, in “‘Revelation”; Charley Chase, in “Out- door Pajamas,” and Bruce scenic, “Dark ‘Timber”; Thursday, Gloria Swanson, in “The Humming Bird” Aesop fable, “Housecleaning,”” and Pathe News; Fri day, Tom Mix, in *“‘the Trouble Shooter” Our Gang comedy, “Tire Trouble”: Jack Dempsey, in “The Fight and Win Stories,” No. 1; Saturday, Bebe Dan- iels and Richard Dix, in “Unguarded ‘Women'" Mack Sennett’'s comedy, “Black Oxfords”; Lyman H. Howe's “Speedville,” and Pathe Review. Mati- nee only, twelfth episode of “The Fast Express” starring Willlam Duncan. Doors open daily at 6:30 p.m.; Sat- urdays, 2 p.m., and Sundays, 3:45 p.m,, with continuous performances both days. Savoy. Today and tomorrow, Jackie Coogan in “Little Robinson Crusoe” and Clff Bowes in “Drenched”; Tuesday and ‘Wednesday, Mae Busch and Adolphe Menjou in “Broken Barriers” and Mack Sennett's “The Lion and The Souse”; Thursday, Viola Dana and Adolphe Menjou in “Open All Night” and Louise Fazenda in “Dizzy Daisy”; Friday, Johnnic Walker and Mary Carr in “The Spirit of the U. S. A" and Jack Dempsey in “A Society Knockout’ Saturday, Fred Thomp- son in *“The Dangerous Coward,” juvenile comedy, “The Junior Part- and installment No. 3, “Into the Talfioma. nd tomorrow, “The Silent Pathe News and Topics; Tuesday and Wednesday, Jean Tol- ley and Mary MacLaren in “The Un- invited Guest,” comedy, “Flying Finance”; Thursday, Priscilla Dean in “The Storm Daughter,” comedy, “Here and There”; Friday, Leatrice Joy in “Changing Husbands,” Aesop's Fables, “Fighting Blood,” No. 10, com- edy, “Jumping Jacks”; Saturday, mat- Metropolitan» Next Week's pl’:otoplays RIALTO—"Butterfly,” a Uni- versal adaptation of Kath- leen Norris’ romance. COLUMBIA — “Circe,” a Metro - Goldwyn adaptation of a V. Blasco Ibanez story. METROPOLITAN—"In Every Woman’s [ a First Na- tional adaptation of the novel, “Longing. PALACE—"The Red Lil a Metro-Goldwyn story of the Paris Latin quarter. AMBASSADOR — “In Every Woman's Life” and Conan Doyle’s “The Desert Sheik.” CENTRAL — “The Desert Sheik,” “Neglected Women,” “Broken Barriers” and “The Empty Cradle.” “The Man Who Fights Alone,” Aesop's Fables, comedy, “Oh, Girls!" York. 1d tomorrow, Gloria Swan- son in “Manhandled” and Cliff Bowes in “Good News": Tucsday, Pola Negri in “Lily of the Dust” and Lioyd Hamilton in “Killing Time”; Wednesday, Estelle Taylor and Pau- line Garon in “Forgive and Forget” and Ben Turpin in “Romeo and Juliet”; Thursday, Viola Dana in “Don’t Change Your Husband” and the Spat Family as “Hunters Bold”; Friday, Pat O'Malley and Mary Astor in “The Fighting American” and Lige Conley in “Air Pockets”; Saturday, Charles (“Buck”) Jones in “Against All Odds,” Harry Langdon in Mack Sennett’s’ “His New Mama” and in- stallment No. 2, “Into the Net. Wide Range of Acting. EBE DANTELS in her new picture for Paramount, “Dangerous Mon- ey as Adele Clark, the poor little rich girl of Robert Herrick's novel “Clark’s Field,” a romantic, adven- turous role, depicts her .develop- ment from a little, drab boarding house maid to a spendthrift, sophisti- cated American heiress, who is wooed and won by an Italian prince during her stay abroad. The action ranges from the water front of Brooklyn's industrial distric to an exclusive girls' finishing school, th~ Villa Peruggia, on the hores of Lake Maggiore in the Italian Alps, and a New York hotel. A colorful se-.| quence in the picture shows a med- ieval Italian festival on the terraces of an old European estate. Cables Princess Yolanda. pRLVCESS YOLANDA, daughter of the King and Queen of Italy, was married to Count di Borgolo April 9, 1923, just about the time Marion Da- vies started work on her picture, “Yo- landa.” Recenlty Miss Davies sent to the Italian princess a cablegram reading as follows: “Congratulations on the birth of your daughter. Best wishes for the good health of you and the baby. Your romance, marriage and this happy event has particularly inter- ested me, as my next motion pictu ‘Yolanda, is a namesake of yours. Miss Davies, following the dispatch of the cable, announced that she would shortly arrange for the send- ing of a print of her new film to Princess Yolanda for a private screening in Turin. “Yolanda,” based on Charles Major's historical romance, is woven around the romance of Princess Mary of Bur- gundy, who, in the masquerade of the burgher girl Yolanda, wins the love of Europe's most dashing prince. The story is set in the fifteenth century in the period of Charles the Bold, Duke of Burgund; g - “A Man Must Live” adapted by James Ashmore Creelman from 1. A, R. Wylie's magazine story, “Jungle Law,” deals with the struggles of a young man, who becomes a reporter on a metropolitan daily, to reconcile a philosophy of gentleness in a world where ruthlessness prevails, i tnee and evening, William Farnum in | Y i, SR “MARIE, PR ¥ L EDITR ROBERTS~Asmbassador Education and the 5creen. HE special Saturday morning per- formances for children to be given at Crandall's Tivoli Fourteenth street and Park road northwest, and opening October 11, it is announced, will not in any sense signalize the discontinuance of the other valuable activities of the pub- Ti service and educational depart- ment of the Crandall Theaters, Which has blazed a trail for the entire coun- try through the foresight and gener- osity of Harry M. Crandall It is planned by Mrs. Harriet Haw- ley Locher, director of the depart- ment, to resume next month the co- operative work with the District of Columbia school authorities in de- veloping further the scope and the value of the motion picture as an agency of visual instruction. With the launching of school year, the visual Instruction classes will be resumed in all the Crandall neighborhood houses. These classes are conducted by principals and teachers of the public schools, and substitute the motion picture screen for the less interesting and the new Theater, | perhaps less lucid text book. The Crandall organization contributes the theaters, house staff and projection- ists as its part of this new plan of motion picture and educational de- velopment. Miss Elizabeth Dyer and an assistant teacher will co-operate with Mrs. Locher in selecting and editing films for school use. Miss Dyer served in the same capacity last year. Miss Maude Aiton, principal of the Americanization schools of the Dis- trict of Columbia, is a stanch ad- vocate of the picture screen as a means of inculcating in the minds of the foreign born who seek Ameri- can citizenship. the real principles upon which our national life is based and the varied activities that enter into the composite of the Nation’s daily existence. Miss Aiton has reas- signed Mrs. Kiernan to the charge of the classes held weekly in the pro- jection room of the Metropolitan Theater. Many government-made films depicting various forms of Ameri- can agricultural and industrial ac- tivity have contributed to the ef- fectiveness of this work. Novel or Screen Story ST AM a firm believer in the origi- nal story written for the screen,” says Charles Ray, the screen star. “The screen method of unfolding a story is quite different from the stage method, every one will admit. Many things are taken for granted on the stage, while in pictures we show them. “Some critics think we use too much footage on this sort of thing— that we should get on with our story. This has been mainly due to the fact that the screen, as well as the stage, has been straining after ‘realism’ I think we have about completed this cycle. Many persons still like to see the actual action, but we are settling down more and more to the real art of making an audience feel that it has seen something when we have really only implied or suggested it. “For the most part, I am against the novel being adapted for the screen. The main objection is that people with any imagination at all form their own pictures of characters when reading a book, and are disap- pointed when they see them portraved on the screen. The more widely read the work, the more criticism invited. “Even if a casting director succeeds in getting players who are almost satisfactory to every one, situations in the story have to be changed, elimi- nated or arranged in a different se- quence, often not to the reader’s lik- ing. “A picture is very short, compared with a written story. Whole chap- ters of a book must be left out for reasons of footage. An author often takes pages, sometimes a chapter, to explain a character’s mood, his rea- son for an act and his attitude toward life in general. An average six-reeler slips by very quickly and a director must manage to get all this over in at least two short scenes. “We probably shall always have popular novels and stage play adapted for the screen, but not with- out disappointment to those who in- dulge in both presentations. The media of expression are necessarily different—as different as an English translation of a French novel is from the original. “* ‘Much is lost,” say those who know. This handicap is very great, some- times unsurmountable. “On the other hand, the origimal story for the screen is more vivi more thrilling. So far as the public is concerned, is new, viewed for the first time. No preconceived im- pressions of characters or memories of the plot rise up to clash with the screen presentation. For that reason it holds the interest better and is more entertaining. One must see it through before one can tell abso- lutely whether they like it or not. Some may think they know long be- fore, but theres is often a surprise finish for them. “It is written especially for the technique of the screen, and for that reason is, or should be, boiled down, showing a great amount of dramatic action in a small amount of footage. Its unfolding is certainly different than it would be for the stage; closer to what it might be in a novel “In my own experience the most successful stories I have done have been original ones by a screen writer or one who had the screen in mind when writing.” - Not Bad. CORES of members of the theatri- cal profession now appearing in pictures in Hollywood, it is reported, united in giving a performance simi-\ lar to a “Lamb’s Gambol,” in the Hol- Iywood Bowl recently, to add to the fund being raised to erect a new church for the Rev. Neal Dodd, pastor of the Church of the Holy Angels, in Hollywood, who is generally admired by the cinema profession and who has appeared in many picture plays, most it jrecently in “Worldly Goods,” starring Agnes Ayres. Filmog’rams AURICE ELVEY, the noted Eng- lish director, will direct Shirley Mason in “Curley Top,” one of Thomas Burke's celebrated Limehouse stories. B. P. Schulberg. after’ dilating upon_the posibilities of presenting the Gilbert and Sullivan operas in screen form, wound up with the re- mark: “We must keep on producing until the time is riper.” Charles Ray has started his sec- ond Ince-Pathe feature, “The Des- ert Fiddler,” an adaptaiion of William H. Hamby's novel. Entisement,” adapted by Eradley King from Clive Arden’s novel, offer- ing great opportunities to thc tnree players in_the leading roles, will be the next Thomas H. Ince feature for First National. based on Kdgar which Florence is being adapted George Vidor “The Mirage, Selwyn’s play, in Reed was starred for the screen b baud, with Florence stellar role. in the “The Chorus Lady,” with Marzaret Livingston as its star, will soon be ready for release through Producers’ Distributing Corporation. It is said Metro-Goldwyn-Mayer endeavored to obtain permission trom Roman authorities to reconstruct the famous Circus Maximus in order to faithfully portray the charlol scene in “Ben Hur,” but failed and had to purchase 400 acres of ground upon which to construct a new Circus Maximus. 1da Waterman, well known actress of the stage and screen, has been selected by Dimitri Buchowetzki for the role of the Princess Beatrice, the intriguing mother of the “The Swan which is to star Elsic Ierguson in the Paramount screen version ot the stage play. John Russell has completed the scenario of “Argentine Love,” an original story by Vicente Blasco Ibanez, which is to go into production soon at the Long Island studio, with Bebe Daniels and Ricardo Cortez in the featured roles. Allan Dwan will direc Jacqueline Logan will be Richard Dix’s leading woman in “A Man Must Live,” to be made at the Long Island studio under Paul Sloane's direction Miss Logan recently appeared oppo- site Mr. Dix in “Manhattan.” Two leading women have arrived in the East for “Tongues of Flame,” Thomas Meighan's next picture. The are Bessie Love and Eileen Per Joseph Henabery will be the director. Not all the thrills making of motion picture afed to the players. I of the daring rescue top of m 12-story building New York for “Dangerous Money” it was necessary for the cameraman to take his place on a platform projecting cight feet from the edge of the roof. While Tom Moore saved Eebe Dan- iels, the operator cranked leaning over the edge of his flimsy perch. dent to the are vouch- filming som. “nes on the All Little Neck, Long Isiand, resi- dents who could, turned out t week to watch a medieval costume ball on the shores of their bay. The bay shore had been transformed into Lage Maggiore, Italy, with silk lan- terns, old barges and festoons, for Bebe Daniels' picture, *“Dangerous Money,” under direction of Frank Tuttle. Alan Crosland has arrived in Holly- wood and is soon to begin filming “Top of the World.” The story is by Ethel M. Dell. gland and South Africa are the backgrounds Six Russian refugees, former mem- bers of the most dreaded of Europe's fighting forces, the Cossacks, appear Movies Need ORE city editors with big blue pencils and less word men are what the motion pictures need today, according to Allan Dwan, Paramount producer of pictares. This statement was made during one of the almost daily discussions that go on in a big | novels. motion picture studio about the im- provement of photoplaye. “Yes, in spite of what captious crities say, there is a constant effort among thinking producers to find tt ideal way to make the perfect motion picture. “Most seripts for the averaze mo- tion picture are too long,” explained Mr. Dwan. “We need some one to be hard-boiled with us, to slash and cut out extraneous material—some one like a city editor, who wants his story told smashingly, coherently and with the human element stressed. “We are gradually advancing to the point where our screen writers are developing the faculty of thinking photographically and not in words; Potash and ONTAGUE GLASS has long been looked upon as one of the most facile and most spontaneous humor- its in America. Himself a Jew, his cloak-and-suit partners, Abe Potash and Mawruss Perlmutter, have cre- ated laughter the world around. They have been extensively fictionized, put upon the stage and finally upon the scrcen—by Samuel Goldwyn, who perceives in the argumentative co- workers two of the most amusing and human characters in fiction. Montague Glass before he became a man of letters and large fame was a member of a law firm in New York. As a practicing attorney, it fell to his lot to handle all the litigation coming to the firm pertaining to partnerships and business organiza- tion. Frequently, it is related, dif- ferences that seemed to threaten af- filiations of long standing and the de- struction of enterprises of substal tial worth were argued out in his office, instead of by legal processes and in the courts. All types of man- ufacturers, jobbers and retail dealers, at one time or another, passed through Mr. Glass' office. From this vast composite, which eventually took form in his mind, he gradually evolved the purely fictitious charac- ters of Abe and Mawruss. Archain- | | Shipman play | picture in “Her Love Story,” the Alan Dwan production starring (Hloria Swanson The Russians were far from looki the terrible men pictured in report: of their appearance and fighting methods. They were all tall, but of rather slender build, possessing soft voices and sporting carefully groomed mustaches, Ricardo Cortez, who is tured with Bebe Daniels in “Argen- tine Love.” an Allan Dwan produc- tion, has arrived at the Famous Play ers’ Long Island studio. to be fea- Cecil B. De Milie has returned to the Paramount West Coast studio to start October 1 “The Golden Bed,” the Wallace Irwin novel adapted by Jeanie MacPherson. Wallace Beery will have a strong role in Victor Fleming’s “The River Boat,” a stor alifornia gold rush of '49, suggested by an original written by Charles E. Whit Wallace Beery leaped into fame some as a German submarine com Behind the Door.” His work in “Robin Hood Pola Negri's “The Spanish Dancer.” “The Four Horsemen of the Apoca- Ivpse,” “The Sea Hawk” and many other important productions, has mads him one of the outstanding figures of the screen, William de strong cast for Mille has engaged Locked Doors,” Clara Beranger's story, in Betty Compson Theodore Von Eltz, Robert Ldeson Theodore Roberts and Kathly liams. Constance Bennett. made such an impres: work in “Cytherea” ar Wrong With the Woman?" signed to play the leading feminine role in Zane Grey's “Code of the West,” which William Howard wi direct. Constance Bennett, who who recently has been | the daughter of Richard Bennett, |trained for a career as a dancer, abandoned the ballet screen. Her brief unusually successtul for carcer the has Robert G. Vignola is “The Summons,” a story by Newlin Burt, for Metro-Goldw Maver. Mrs. Burt is the author “The Branding Iron,” the novel pic turized by Reginald Barker, and of “Hidden Creek"” and * Red Lady. to_produce Kather “Cheaper to Marry." the Samucl purchased during its oadway run by Metro-Goldwyn- Mayer, will be Robert Z. Leonard's next production, and in making this Leonard for the first time in many months will direct Some star other than Mae Murray, whoSe next picture to be Lehar's “The Merr: Widow.” directed by Erich von Strc heim from a script written by v Stroheim himself with the aid of Ber jamin Glazer, John Gilbert, Ileanor and Ailcen Pringle are to play in Cyril Hume's “Wife of the Centaur,” which King Vidor is to direct. Gi bert will have the role of Jeftre Dwyer, a college youth described by the author as having both the human and brute characteristics of the mythological centaur is Boardmar Slliott Dexter's earliest ambition was to enter the ministry. Then the tage lured him. and later he entered motion pictures. In William dr Mille's production, “The Fast Set.’ he plays the role of a novelist. Five Metro-Goldwyn pictures to b released during Ocfober will includc Belasco Ibanez's “Circe, the Enchan- tress,” the Tiffany production starring Mae Murray; Buster Keaton's new comedy, “The Navigator.” a Joseph M. Schenck presentation; Tom Ter- “The Bandolero,” from the Panl novel; “Janice Meredith,” the (Continued on Fourth Page.) City Editors. where thev are able to develop a powerful theme in a series of dynam pictures. When this method of story telling is perfected, literature wiil borrow from the screen and authors will get their inspiration from screcn stories that will be made into great erhaps this is the millennium, but T do not believe so and when the time comes the o 1 story for the screen will be the t At preser et from literature. but before we trans- fer the story to the screen we have to divest it of all its word-trapping Sometimes when this is done we do not have as much of a Story as we thought we were going to have when we first read the novel. Then it is necessary to plug up the holes in th plot which were so skillfully hidden Ly the words of the author. “The cry of the picture producers is for new and better material witl which to make photoplays. Let the we our inspiratior O. Henrys come forth! To me C. Henry was the ideal.” Perlmutter. Many of the situations which lent a distinctive quality of originality as well as the charm of keen humor to the stories as they first appeared in print were based upon actual inci- dents. Others ho invented When Al H. Woods determined to translite the ories into ama, he naturally commissioned Mr. Glass to it in” with Jules Eckert Goodman in the fashioning of plays that were destined to make Alexander Carr and the late Barney Bernard the living embodiments of the world-famous characters. ‘When “Potash and Perlmutter” was converted into a film comedy these same two masters of comedy and pathos were retained in their original parts, but with the lamented passing of Mr. Bernard, a casting problem confronted Mr. Goldwyn. An exccllent bit of managerial judgment prompted the engagement of George Sidney to succeed Barney Bernard in the lovable character of Abe Potash. Mr. Sidney is a veteran actor whose experience dates back to two decades ago and more, when he was playing the same sort of Jewish character in Ward and Vokes produc- tions that David Warfield played con- temporancously with Weber and Fields. Inspiration and Perspiration HE impression seems to be gaining cround in screen circles that in- spiration is vastly superior to per- spiration in the manufacture of cel- luloid fiction. As an example of the actual box-office value of inspiration, such pictures as “The Birth of a Na- tion” and “The Covered Wagon” are being cited. Those who have seen and compared these two pictures have been struck by the similarity that exists in the strong effect of realism and actuality that both directors achieved, although the materials they employed are the same that are constantly employed in the perspiration school of production. In some curious way, both Griffith and Cruze, in these productions, seemed to forget that they were merely making a picture. In both the fires of creation were flaming high and the result is a hypnotic suggestion of actual occurrence rath- or than the mere unfolding of fic- ticnal events on a s “The Covered Wagon” was admit- tedly an inspirational picture ou James Cruze's part. He was given the script to make a program picture and he immediately saw In it the materials and makings of an epic. So powerful was Cruze's belief in the possibilities of the story that he be- gan a veirtable campalign with the high officials of the Famous Players- Lasky Corporation to persuade them to advance the funds necessary to make “The Covered Wagon” into drama, rather than a mere movie. With all due respect to Cruze, “The Covered Wagon” does not resemble many of his other pictures. It has w force of conviction, a soul, that nona of his earlier or later pictures, made in the course of the day’s work, pos- sess. The same goes for Griffith, who, of recent ycars has seemed all too frequently to part company with iu spiratfon and fall back on the mere sweat of his brow for metivatior > a