Evening Star Newspaper, January 11, 1925, Page 53

AMUSEMENTS, e C1BSON GOWLAND (\‘:‘ ~AO alaces " DOROTHY DEVORE_- Rislto \ News and Comment By W, H. Landuoigt: HO can wonder at the number of picture-mad, stage-struck girls in the world, who are straining every nerve to break into the movies, after reading the recent report that a certain popular been “signed up” to a salary of one thousand work or play, because of her established “box-office value”? dollars a day When memory turns back to the gifted players of the theater who honored ith their superb talents and their consummate artistry, none of his or her glory, ever dreamed of such a the stage heyda compensation, the mind's canera would be sadly defective if it failed to of whom, even in the snazement, for 1inly this actress has never achieved any- mparable to their accomplishments in dramatic art. How, then, 1g be pe ? Has our good old American dollar become <o cheap that it takes a thousand of them every day in the year to pur- chase services, work or play, of so little real value to the world? Surely jous tribute to the skill and power of the press agent, and, by ¢ token, perhaps a reflection upon the taste and judgment of the preseht-day = If the glorious Gloria is able to win over an in- dulgent and generous public to force the transfusion of one thousand ars a day, whether she work or not, from the capacious pockets of n financiers to her own bank account, no one ought to blame her. it is ungenerous to even comment upon the fact. But in a world are wearing their fingers to the bone and are giving all 1d energy in exchange for a bare living the thought that the pampered and petted darling of the movies can get away with such n_seems almost unbelievable. * k 3k ¥ which has been called, irreverently perhaps, “the Bible of y 3 in its annual review of the picture world states: “With f picture stars at high tide and no apparent slashing in sight, ucers are signing up ‘names, planning to make their films within three or four weeks at the utmost. * * * An instance of ‘names’ is best shown where releasing channels will not handle pictures unless the list of principals is worth while. No longer will the exhibitors buy a ‘one’ or ‘two star’ picture unless the ‘names’ be exceptional.” It is this practice that produces the so-called “all-star” casts, number being made to take the place of quality, for a number of “wéll known names” in a cast makes for the publicity and exploiting work, it being so easy to fool the dear public. Here is to be found the Scylla and Charybdis of the movie mak- ng game. On the one side a star whose drawing power has been estab- it the box office, and on the other, the producer’s clever effort to thousand-dollar-a-day salaries by providing an “all-star” cast tirely of real “stars,” but of well known players who or less prominent in pictires and whose names are familiar Sible now w ovie fan. rY, Broadway, the salaries c composed, not e have be oto the T % k Xk X LL this might be mercly matter for gossip were it not for the sober fact that ultimately the public must pay the cost. If an unthinking public, just for the sake of an hour or two of pleasant entertainment, forces up the value of the services of those who provide it, it may be as- sured that in the end it will certainly pay the increased price. The regu- jar exhibitors of motion pictures, in Washington at least, are providing the best product of the movie world at very reasonable prices. Indeed, time and again they are presenting at their regular rates pictures that jmmediately before being presented here have been shown at what is called “legitimate theater rates.” The public here has not always responded to this concession with generous patronage. And yet it is decidedly to the advantage of the public to encourage the regular exhibitor, who, to secure return, must_have many more audiences at his rates than the legitimate theater exhibitor at the higher rates of admission. We have ird a great deal about the wonderful progress of the movie, how by leaps and bounds it has risen to be one of the leading industries of the Nation moment’s thought will convince any who care to know at the publ ter all, is the real censor of pictures . and of prices at which they may be seen. % an te he %k k ok UCH consternation, apparently, was caused the theaters, screen and otherwise, by a recent radio concert, and the pessimists began at once predict that the direst results were impending. It seems, upon snature reflection, that the matter is like to a tempest in a teapot. When the movies began to make folks sit up and take notice the managers of the so-called legitimate theaters began to tremble in their boots and to predict all sorts of sad results. But none of them happened. The movies now move along with the “speakies” almost on friendly terms, and each is getting its share of the patronage. The. wonderful radio, which car- ries melody to the household, it is confidently believed, will not interfere with the inborn urge that takes folks to the play or the picture. Those who have good sight and hearing are proving every day in the theater at there is no danger of the one or the other being abandoned, unless, the Bori-McCormack radio concert should become a nightly event, then it is doubtful if the concert would convert the play lover 1 to do more than divide his time between the attractions. Jut West turned the radio “craze” to advantage by starting a sver the radio which drew attention to the attraction he desired Empire Fashions Predicted of the original drawings and sketches In Napoleonic museums for “Madame Sans-Gene,” and the beautiful en- sembles of the picture are declared to be true portrayals of the style of that period. “‘Madame Sans-Gene’' " sald Miss Swanson recently, “has given me a variation {n my wardrobe which has been very pleasing. I think, too, that the reticules which the fashionable women carried in those days may very probably become popular again, and some of the very charming hats worn may Influence the modistes next year. “Furthermore, there is a dignity and grace about the Empire styles in which women may find an interesting outlet for expression.” fashion experts in ris, it is said, believe that the tion of the picture “Madame will give a decided Em- trend to the Summer and Win- hions for 1925, There have already been a number itions that the styles creators n influenced by Gloria Swan- gom’s first costume picture, and Miss Swanson herself, whom many movie fans regard as the best dressed wom- a0 on the screen, has felt the impres- slon of the graceful and dignified $mes of the Empire period. She recently appeared in a clever mdaptation of the coat and hat which Robesplerre, tha exquisite, of the revolutionary period wore, the cos- tume being designed for her by Luelle, one of the smartest couturiers in Paris. Her appearance at the Ritz yand later at Ciro's is declared to have caused a mild sensation Gloria Swanson's gloves turned back at the ends with monograms in black, which came out recently in Paris, 1s another indication of the tendency toward the Empire. More than 5,000 costumes were made from P Admirers of Gloria Swanson will be interested in knowing that among the list of coming attractions already scheduled at Loew's Columbia is the Paramount production of “Sans Gene, which Miss Swanson filmed partly in Paris, and is said to be Miss Swan- son’s outstanding production of 1924- 1925, Filmograms. OUGLAS FAIRBANKS has started a new picture entitled “Don Q," which is a sequel to “The Mark of Zorro.” Donald Crisp will direct. “Greed,” ture, which von Stroheim’s new plo- is scheduled among the current attractions here, won both critics and public in San Francisco and has been shown to capacity business. the the near News repeal State future. from Albany indicates of the censorship law in of New York in the Antonio Moreno has gone abroad to appear in Rex Ingram’'s new picture, Mare Nostrum.” Weiss Brothers' Artcla: Pictures will hav 40 new productions this year, including 6 society melo- dramas, 24 five-reel Westerns and specials and a series of short-reel cross-word puzzle films. Metro-Goldwyn has designs upon Roger Burlingame's “You, Too,” and Ernest Pascal's “Virgin Flame,” having purchased the film rights to both stories. Harry and Jack Segal of Pioneer Flims, Boston, also are going into the filming of cross-word problems and George Ade s being tempted to supply some of the material. The “ten best box office” attrac- tions, according to Film Daily's poll of the exhibitors, are “The Covercd Wagon,” “White S *“Hunch- back of Notre Dame, Youth,” “Little Old New York, amouche,” “The Humming “Monsieur Beaucaire” and Worry. Bird, “Why Arthur Train is reported to be writing a story for Thomas Meighan. First National is to film Frank Lloyd in Rex Beach's “Wings of Chance. It looks as if Douglas MacLean is to be fitted against Harold Lloyd by rival producers as laugh-getters. Charlie Chaplin's wonderful pic- ture has been censored out of Wor- cester, Mass. Encouraged by the popular puccess of her first published composition, “Honey Love,” played recently as a theme number by the orchestra at Crandall's Metropolitan Theater, Mrs. Fritz D. Hoffman, wife of the con- troller of the Crandall theaters, has since had complete orchestrations made of several other original melo- dies heretofors written in script for plano only. ' Otto F. Beck’\ pipe organ recitals put in the air through station WRC of the Radio Corporation of America each Saturday night from 11:15 to midnight from Crandall's Tivoll Theater have caught on as one of the most popular national units tak- ing the ether. Mr. Beck, WRC and the Crandall offices have received hundreds of messages from all parts of the United States and Canada ex- pressing pleasure at the recitals. A radio base was established at Death Valley, Arizona, by Erich von Strohelm and his party, who braved the dangers of the region to film the climax of von Stroheim’s production, “Greed.” The Austrian director says he set up the radio in case he wanted it to summon help if anything hap- pened to his water supply, which glves some idea of the danger that beset the party on this last lap of their undertaking. To be raised from the obscurity of clerk to the grandeur of general man- agership by an efficiency expert seems like a miracle. This incident is only one of many interesting episodes of “The Narrow Street” the Warner Brothers’ production, which is claimed to be as exciting as a world war. From pantomime to pantomime marks the progress of Lilllan Rich, the new “find” Cecil B. De Mills is featuring in “The Golden Bed.” Miss Rich made her debut as a child in an English Christmas pantomime called “Bables in the Woods.” After an ex- perience on the stage as leading woman for Harry Lauder she came to America. Her rise has been rapid. Having completed the cutting of “Salome of the Tenements,” Sidney Olcott has left for California to direct Pola Negri in ,“The Charmer” at the Lasky Studlo’ Caryl Fleming and Fred Fleck, his assistants, went with him. & Edmund Lowe, cast opposite Pola Negrl in “East of Suez” a Raoul Walsh production for Paramount, was the youngest bachelor of arts in America when he was graduated from Santa Clara University. Later he ob- tained his master's degree from Stan- ford University, and for two years he was a member of the faculty of Santa Clara, teaching a branch ,of English literature. Richard Dix will have a featured role in William de Mille’s next produe- tion, “Men and Women,” which was adapted to the screen by Clara Beran- ger from the play by Henry C. de Mille, father of the producer-director, and David Belasco. “Flaming | COTIEEN MOORE f /We{ ropolitan MACLY N ARBUCKLE Lincolw Photoplays This Week At the Photoplay Houses This Week RIALTO—"“The Narrow Street.” PALACE—“Greed.” METROPOLITAN So Big.” Sh COLUMBIA—“Wages of Virtue.” ning. TIVOLI—"Hot Water.” Shown t AMBASSADOR—"So Big. ning. Shown this afternon and evening. Shown this afternoon and evening. own this afternoon and evening. Shown this afternoon and eve- his afternoon and evening. Shown this afternoon and evening. CENTRAL—"One Glorious Night.” Shown this afternoon and eve- LINCOLN (Colored)—"“Janice Meredith.,” Shown this afternoon and evening. Rialto—"The Narrow Street.” The™ feature attraction at the Rialto this week, beginning this aft- ernoon, “The Narrow Street,” is a story with a mystery angle. It concerns a «irl who gets into the home of a bachelor quite by accident and is dis- covered there by him some time latar in the night, asleep on his couch. He has never had any experience with women and a situation of this kind is more than he is capable of han- dling. From here on the story takes on many new angles. The cast includes Matt Moore and Dorothy Devore. The original story was written by Edwin Bateman Morris, a well known Washingtonian, and was issued here last Spring in novel form. Stan_Laurel in “Short Kilts” a laughable comedy, and Duffey and Mackenzle, the operatic stars, will be added attractions, the latter in a new skit called “A Night in Seville.” Bal- ley F. Alart will play a selection from the operetta composed by him called “Frantzi,” which is being made ready for a Broadway premiere. The I ternational News also will be shown. Palace——"Greed." Erich von Stroheim's spectacular picturization of Frank Norris’ Ameri- can novel, “McTeague,” under the screen title of “Greed,” will be shown this week at Loew's ,Palace, begin- ning this afternoon. In this tremen- dous epic von Stroheim ls said to have achieved what is already re- garded as his directoral masterpiece. “Greed” comes direct to Washing- ton from an engagement at $2 prices at the Cosmopolitan Theater, in New York. It is a study of the effects of a woman’s avarice on the lives of three persons—herself, her husband and the other man. It shows how Mc- Teague, a hulking miner, who later becomes a journeyman dentist in San Francisco, meets and falls in love with the sweetheart of his friend, who gives her up without a struggle only to become a menace and & tor- ment to McTeague when the other man learns that she has won $5,000 in a lottery. Exposed as a quack dentist by his former friend and daily ground down by the avarice of his wite, McTeague drifts down hill, grows morose and sullen and finally, in a quarrel with his wife, is led into an act that sends him forth Into the heart of Death Valley a fugitive trom justice. There will be no other features of the Palace program except a musical score by the orchestra, Metropolitarm—"So Big." Colleen Moore, in First National's plcture of Edna Ferber's novel, “So Blg,” at Crandall's Metropolitan Theater this week, is sald to reveal an interpretative power and a breadth of appeal that will astonish those who have felt that her talents were restricted to the expression of ingenuous young girihood. The story spans the years from 1887 to the pres- ent day, and Miss Moore impersonates Selina De Jong during the pivotal pe- riods of her life, from girlhood to old brief orchestral prelude, for which the “Berceuse” from “Jocelyn” will be used. 0 Big” is a drama of maternal @evotion to a son and a mother's dis- appointment that her beloved child should grow up to be a weakling rather than the man among men she had hoped. Miss Moore's impersonation of the mother is said to be a remarkably fine achievement. The rols of “So Big” is played successively by Baby Dorothy Brock, Frankie Darrow and Ben Lyon. Others In_the cast are John Bowers, Wallace Beery, Ford Sterling, Dot Farley, Jean Hersholt, Sam De Grasse, Gladys Brockwell, Rosemary Theby, Phyllis Haver, Charlotte Mer- riam and Henry Herbert. The picture was directed by Charles Brabin. Columbin——"Wages of Virtue.” Gloria Swanson, the Paramount star, will continue at Loew's Columbia Theater this week in her latest pro- duction, “Wages of Virtue,” owing to public demand. “Wages of Virtue” aside from its colorful episode and its romantio theme, is sald to offer Miss Swanson the most unusual role she has-ever assumed. Ben Lyon, the youth who was Pola Negri’s leading man in “Lily of the Dust,” appears in that capacity with Miss Swanson for the first time in this picture, with Norman Trevor, Ivan Linow, Armand Cortez, Adrienne d’Ambricourt, Paul Panzer and Joe Moore. Allan Dwan was the producer. The story, adapted by Forrest Halsey from Capt. Percival Wren's novel, is a ro- mance of the French Forelgn Legion and Carmelita, a young Itallan girl, and a young American member of the legion. Added attractions will include the juvenile comedy, “The Goat-Getter'; the International News pictures and orchestral accompaniment. Tivoli—"Hot Water." Harold Lloyd will occupy the screen at Crandall's Tivoli Theater the first two days of this week, beginning this afternoon at 3 o'clock, as star of “Hot Water,” a comedy, revealing the complexities of honeymooning under the vigilant eye of mother- in-law. Nell Shipman's two-reel dramalet, “White Wate Earl Hurd's cartoon comedy, “The Saw- mill Four,” also will be shown, and pipe organ accompaniment and solos will be given by Messrs. Rodwell and Pease. In-“Hot Water” Lloyd is sup- ported by Jobyna Raiston, Josephine Crowell and Charles Stevenson. The program for the remainder of the week follows: Tuesday and Wednesday, Barbara La Mar and Bert Lytell, in “Sandra,” First National's film version of Pearl Doles Bell's novel, and Ligie Conley, in “What a Night"; Thursday and Friday, Marion Davis, in Cosmopoli- tan’s production of “Janice Meredith,” from the story by Paul Leicester Ford, with Holbrook Blinn, Macklyn Arbuckle, Harrison Ford, Joseph Kil- gour and Tyrone Power in the cast. Short reels will complete the bill age. The bill will embrace also a com- edy, the Metropolitan World Survey and a musical program, including a Saturday, FElaine Hammerstein, in “One Glorfous Night,” supported by Albert Roscoe, Phyllls Haver, Ma- thilde Brundage and Clarissa Sel- DANTELS . IAmbas‘sador Change in Children's Program. A CHANGE in policy for the special programs for children given each Saturday morning at 10:15 at Cran< dall's Tivoll Theater is announced by Mrs. Harriet Hawley Locher, director of the public service and educa- tional department of the Crandall theaters. Hereafter, the screened features will be those pictures that have been produced with at least a partial view to entertaining juvenile audiences. The following plctures will be show: successively: “Rebecca of Sunny- brook Farm,” “Daddy Long Less, Kate Douglas Wiggins' “Timothy's Quest,” Mark Twain's “The FPrince and the Pauper” and others of like literary importance. In addition Peggy Albion appears in person at each performance and the pipe organ programs arranged by Robert Rodwell comprise an impor- tant feature of these morning bills. Movie at Big Opera House. 'OLIOWING “the example of the Paris Opera House, which, on the fiftieth anniversary of its opening, has permitted the showing of a motion picture in its auditorium, the Metro- politan Opera House of Naw York may iay ide its unbroken precedent in favor of “The Phantom of the Opera,” a Universal picture starring Lon Chaney. An Associated Press cable from Paris announces that the showing o the picture, “Le Miracle des Loups, in the historic opera house there h broken all records for attendance, leaving even the grand operas far be- hind. The showing was made in spite of determined opposition by musi- cians, who considered it a desecrativn of the home of music. Otto H. Kahn, chalrman of the board of ectors of the Metropolitan, who 1s known to be in sympathy with mo- tion pictures, has received an offer from Carl Laemmle, president of Uni- versal Pictures Corporation. to give the initial showing of the “Phantom” at the New York Metropolitan Opera House. The production, it is pointed out, Is extremely fitting for presentation in an opera house, for it is a story of the Paris Opera House, ‘and presents grand opera and its creators on the screen for the first time. For the making of the picture an exact re- construction of the Paris Opera Hous was built at Universal City, including a full-size auditorium, with stage, five tiers of boxes, balconies and main floor. The grand staircase, foyer du danse, cellars under the opera and other features of the building also are shown. Among the scenes is a full produc- tion of the opera “Faust,” which was made with real opera singers, an or- chestra of 100, a chorus of 80 and a ballet of 250. Thess Scemes are pho- tographed In color. In his letter to Mn Kahn, Mr. Laemmle said, in part: “May I ask the Metropolitan Opera House to consider the presentation of ‘The Phantom of the Opera’ for one performance? I believe it would be a notable actfon if, on the fiftieth birthday of the Paris Opera, the Met- ropolitan Opera House would open its doors to worthy motion pictures, as the Paris Opera has done.” The directors of the Metropolitan have not vet notified Mr. Laemmle of thelr decision. wynne; Charles Chase, In “The Rat's Knuckles,” a comedy, and the second release in the “Galloping Hoofs” series. Ambassador—"So Big." Colleen Moore, in “So Blg,” will be the feature of the bill for the first three days of this week at Crandall's Ambas- eador Theater, beginning this afternoon at 3. Those prominent in the cast in- clude Ben Lyon, John Bowers, Wallace Beery, Ford Sterling, Dot Farley, Jean Hersholt, Sam De Grasse, Gladys Brock- well, Rosemary Theby, Phyllis Haver, Charlotte Merriam, baby Dorothy Brock and 'Frankie Darrow. The picture also will be shown at the Metropolitan the entire week. The remaining program follows: Wednesday and Thursday, Bebe Daniels and Ricardo Cortez, co- starred in Paramount’s production of Vincente Blasco Ibanez' story, “Argen- tine Love,” in which James Rennie and Alice Chapin also have important roles, and Larry Semon, In “Kid Spesd,” a novelty comedy of the motor race tracks; Friday, Betty Compson, in “The Garden of Weeds,” a James Cruze pro- duction, in which are also seen Rock- liffe Fellowes, Warner Baxter, Charlés Ogle and, Lilyan Tashman, and Mack Sennett's “Little Robinson Corkscrew,” starring Ralph Graves; Saturday, Philbin, in “The Galety Girl"; Hurd's’ cartoon comedy, “The Artist’ Model,” and the third instaliment of “Galloping Hoofs,” chapter play of Ken- tucky thoroughbreds. & . Central—"One Glorious i nght. “One Glorious Night,” the story of a girl who had to choose between her lifework with poverty, and riches with nothing else, is to be seen at Crandall’s Central Theater the first two days of this week, beginning this afternoon at'3, with Elaine Ham- merstein as the star. In the cast are Albert Roscoe, Phyllls Haver, Mathilde Brundage, Clarissa Selwynne and Baby Vondel Darr. The comedy is Hal Roach's “Jubilo, Jr." featuring “Our Gang,” and & scenic study of “Prague” will be shown. The week's program includes: Tues- (Continued on Fourth Page) Making a Motion Picture. SSOYUT of the army of techniclans picture an artistic and a commercial success,” says Jesse 1. Lasky, “there are four persons who divide the pralse or blame, as the case may be “These are, in the order of their connection, the original aufhor, the the screen playwright who adapts the story, the director who interprets and directs it, and the actor who transforms the written word into 1iv- ing action. These four are counted the most important of the many who make the picture possible. “Of these four, it s the director who must accept nearly all of the respon- sibility. Generally speaking, he has something to say concerning the se- lection of the stories he makes into films. The work of the screen adapt- or or scenario writer is carried on under his eye and the actor is en- tirely under his supervivsion “When the picture is ‘shot’ and assembled it represents chiefly the mind of the director. If it is lacking in any particular, the responsibility for its defects rests with him. If it exhibits superlative qualities the credit must go largely to the di- tor whose supervision determines the ultimate value of all things to the picture “When the film is assembled in a rough cut’ the director comes last to a point where he is glad, as a rule, to hand over his load of respon- sibility to a technician whose work. next to his, finally will determine the audience appeal. Generally, this pe son has seen nothing of the actual making of the picture. He shares none of the ‘company’s’ enthusiasm. He is a cold-blooded expert, trained to appraise pictures at their actual worth, uninfluenced by personal in- terest’ in either picture or plavers In his hands lies the opportunity to make a poor picture into a good one and a good picture into a better one “This expert, practically unknown to motion picture fans, Is the editor and title-writer. He must understand continulty, as scenario writing is called, in order to eliminate unneces- sary footage, bridge the natural gaps in action with explanatory titles, compress the story into fast-moving action and keep the plot unfolding in an easy and interest-compelling man- ner. “Ever since subtitles first came to the screen, and made possible the ad- vancement of the motion picture from simple mantomime to the art of drama, a controversy has raged as to Washin HERE is something makes better architects. h: long been commented literary circles Once when F. Hopkinson §mith, ar- chitect, turned to the pen many of his friends were skeptical that it could be done. Smith surprised his triendly critics, and not a few of the most. charming tales in American flo- tion came from him. There is an- other in Washington whose career apparently is running parallel to Smith. He is no other than Edwin Bateman Morris, connected with the office of the supervising architect of the Treasury Department. He has to his credit six novels, and his pub- lishers have just received the seventh from his pen. His last published work, “The Nar- row Street,” proved so successful that ‘Warner Bros. Co. obtained the rights and presented it to the film world. It is a whimsical story of a bashful man, lacking self-confidence, but who is regenerated and made to find him- self through the Instrumentality of a beautiful girl. In discussing “The Narrow Street” Mr. Morris said: am glad to comment on the satisfactory way the book was made How Studios Size 'Em Up. MUCH time is spent in debate on this question, When is a screen actor or actress great? Studio folk have a definite way of ascertaining a players degree of greatness. At the Paramount Studio in Hollywood when the word was whispered about that Raymond Hatton was about to play a big scene in ‘ontraband” every one melted away in the direction of that set to get a peak at him. It is the same In every picture In which he plays. Many other players In the same studio are pald the same subtle com- pliment by their fellow artists. upon in Acted by Jeffersons 87 Years. OSEPH JEFFERSON, the second grandfather of Thomas Jefferson, first played “Rip Van Winkle” in Eng- land in 1830 and continued it for 17 years. His son, Joseph Jefferson, the third, father of Thomas, had the play rewritten by Dion Boucicault in 1865, and this version was in use continu- ously until the death of the third and most famous Joseph Jefferson in 1890. In that year Thomas followed his father in the role and played it for 25 years. Thus was “Rip” played for 87 years by the Jefferson family. * The late Joseph Jefferson, the third, had four sons—Charles B., Joseph (the fourth), Thomas and William. The two latter are still living, but Thomas is the last of his line to continue in the spoken drama. William Jefferson is appearing in pictures. Thomas Jefferson is named for the founder of the house, who was born in Yorkshire, England, in 1717. The first Thomas Jefterson early forsook the ways of his forbears and acted In London with David Garrick and other cotemporary stars. at | the importance, even necessity, ot titles. Much has been written, chiefly by peopls possessing no actual know! edge of picture-making, to prove that the motion picture should tell fts story without the aid of interpolated text. But these writers, who look forward to the ‘titleless’ picturs as the great accomplishment of the in- dustry, forget that the motion pic- ture began without titles and neve: stepped out of its cradle until the use of titles overcame the limitation placed upon it by pure pantomime. “The importance &6f titling no- where better exemplified than in the case of costly productions, which have been salvaged by expert titling. In several cases, where the assembled production showed such weakness of story that the box office value was something less than nothing, the title- writer, who must above all, a story-teller, was faced with the tas of writing in practically a new stor in titles. The film was edited and scenes and titles were woven into new pattern far from the original de slgn. The fact that many films, salvaged, have become successes em- phasizes the value of the title-writer “An experienced title-writer, witl a fine vecord in polishing dramatic sfuccesses, may fail entirely in titling comedies, where the chief requisit of humor that expresses itself without effort In the colloquia isms of the period. It is not strange that a man who can place himself in the spirit of a great historica drama and express the sweep of its story in polished phrases, or who can help along the action of a fast-mov- ing dramatic will sometimes find himself almost helpless wher confronted with a comedy that make no preiense to realism. “From the opening subtitle of a comedy to the end, there is one ob- ject to be accomplished and only one. The audience must be made to laugh If a scene has missed fire, the title- writer must put words into the mouths of the characters which will emphasize the humor of the situa- tion. If the plot follows a farc trend, replete with con tionis, t titles’ must keep the straight and at the same time audi amused. The th every laugh worth $5,000 the producer is largely true. “The really funny title is, undoubt- edly, worth a great deal to the pr ducer, but the funny titls which just misses {5, by the same token, wor: story ence is to about archi-, over tecture that makes better writers| The filming and something about literature that | ¢ This axiom | manner with the idea of telling the a great deal less than nothing.” gton Author Filmed fnto a moving picture story of the novel was in a most conscientious mplished same story in the as did the book. “In this day the the moving plcturs genuity and artistry is used to re- create the $pirit and movement of the story. They emphasize the story. ‘Whereas we all remember times when the personal charms of the actors and well taken scenes were the chjefest interest of the movies, thers is now welded in with these, with more and more emphasis—story. The world loves story. Since Homer's time, and before, it drop- ped its vocations to listen to nar- rative. The producers stress this trait. They have given Rafael Saba- tini $10,000 as a premium for creat- ing the best moving picture story— emphasizing publicly their quest for finer and better narrative. “Many persons do not realize what a step in advance this is. It promises better entertainment for us—enter- tainment that will cause us to look back and remember—just as we look back and remember such plays as ‘The Little Minister' and “The Music Master.’ Exalted as was the artistry in each of these cases, it was the story that gripped and held.” same way very utmost of producer’s in- Not a Prima Donna. MARY HAYNES, who has red halr and a wonderful sense of comedy, wants it distinctly understood that she isn’t a prima donna. Miss Haynes is an actress first and a singer after- ward. Her songs about the way to get a fur coat and the beauty parlor and the gossiping neighbor In a New York apartment house, are gems of characterization set to clever inci- dental music by her accompanist, Eben Litchfield. All of these skits are based on the personal observations of Miss Haynes, who has trunks full of notes for sketches and plays which she hopes some time to develop. In the meantime her talents as a comedienne keep her busy on the Keith circuit. Miss Haynes is a Chicago girl, who started her career singing illustrated songs at the age of 14, She had a nat- ural leaning toward the humorous, rather than the sentimental numbers, and developed such a streak of natu- ral comedy that she decided to go into vaudeville. Her first act was with two other girls. They played a while in the Western vaudeville circults around Chicago. Her next venture was a “sister” act. But by the time she had reached her stride in the big vaudeville houses of the East, she had discarded assistance and was doing a single with Eben Litchfleld as pianist and composer. Miss Haynes declares that any big city is full of types as broadly humor- ous as the well known rube charac- ters of the small town. She insists that ‘| she has hardly broadened the stroke in painting her manicures, her busy- bodies and flappers of the big city. Jolson’s new production, “Big is a race track story, and Jol- son 'is seen as Gus, a jockey. Four horses are employed in “the most thrilling race scene ever staged.”