Evening Star Newspaper, February 15, 1925, Page 59

News and Comment By W. H. Landvoigt. HINGS human are mighty onsartin. The movies are beginning to find it out. Recall, if you will, the familiar screen faces of just a few years back. How many, how very many of them have faded one reason or another. Occasionaly those who quietly fade away creep back again, but not for long. demand to be for new screen fa out of sight for some of The scems be states that in every studio may be seen new men and new women who have come—and arc still coming—to supplant favorite stars and that only yesterday seemed so popular that they might never be spared and that no one could replace * * F\Ml.. after all, is but a fleeting fancy The occupant of its highest peak today is likely to be a wanderer in a lonely valley tomorrow. And the stars of tomorrow are certain of the same fate, in their What springs to perfection quickly fades just as quickly. It is only the old oak that consumes years and years in reaching its maturity which seems to possess any sort of permanency of existence. The picture producer has told us the withdrawal of the old stars and the substitution of new ones is caused by the public demand for new faces. The exhibitor shrugs his shoulders and says the old stars are the best box office proposition. The man who supplies the money declares that old stars demand too much money, and that just as good can be secured ior considerably less. II is hardly true to say the public tires of old friends that the public does not gladly welcome newcomers whose talents appeal. It is true that some of the old stars have been drawing colossal salaries, and equally true that the new ones will have to fight their way to diamonds, furs and big bank accounts. But behind it all is the solemn fact that many of the old “stars” did not reflect theatric genius. Many were well drilied puppets in the pictures in which they appeared. When the director could teach them no more mew tricks they rapidly grew stale. it is commercially natural to unload & wornout machine that requires of the people. turn. ok ok ok an exorbitant quantity of financial gas to operate, and to look around for | 2 new one that will give more miles to the gallon. * % ok k TARDOM has been reached very cheapl pretty face, large, lustrous eyes, a shapely figure, these have been the “talents” to win stardom for man Some of the most popular movie stars of today are just beginning to show a sign of dramatic intelligence. Some will never show it. But the fermentation in the movie world is aking a!l of them up. Even the famous Doug, in the height of his slory, is wise to the fact, and is looking around for new tricks. The itest report brings the information that Doug is now reaching out into the realm of terpsichore, and that his next picture will reveal him as a dancer to rival the equally famous Valentino, who first broke into fame vith the Argentine tango. ¢ by many in the movies. A Sk ok [QUT even as the screen cries aloud for faces that are new, we find that things that are old are being billed in electric lights on Broadway oday. Against “The Lost World,” “The Golden Bed” and “Capital Pun- hment.” all new pictures now being presented in New York, are found, n equally brilliant promincnce, “The Great Divide,” “Twx Man Without Country.” “Romola harley’s Aunt” and “The Ten Commandments,” 1 old and well beloved memories. . Singular that the public should de- hand new faces and old stories, isn't it? ¥ ok ok HERE are some old friends—or are they foes?—who might give joy to the public heart by their everlasting disappearance. Chief among hem is the modern scating arrangement in our large photoplay houses. Vhenever a good picture is announced, it is to be expected the public vill turn out in full force to see it. Some are so eager that they cannot vait beyond its first showing. And then we see the theater. lobbies backed and jammed to suffocation with young and old, male and female, vatiently waiting and suffering and struggling just to get inside the heater doors. and overjoyed if they are fortunate enough to find a seat o rest their weary bodies. This happens as well in the coldest and most nclement days and nights of Winter as in the warmest days and nights f Summer. Surely the genius which has placed the photoplay industry hmong the leaders in commercial enterprise can find a remedy for this. ‘et no cffort at all has been made locally in this direction. The argu- nent is familiar that pictures are shown at small prices and it is there- ore necessary to have a continuous flow of people going in and coming »ut; that people will not time their hour for going to see pictures, but vill drop in at the middle of one showing and remain over for the next, hus getting their ture entertainment last which should come first, and yice versa. There is an answer. A T Sid Graumann's picture palace in Hollywood, which is said to be the most beautiful of its kind on earth, seats can be reserved.. The eserved seat system has been in vogue there, it is said, for a long, long ime and has worked beautifull If adopted here it would break up the ustom of dropping into a movic theater at any old time, interfering with he pleasure of those who have come in season, and it would compel pic- ure patrons to adopt a regularity sadly needed. It would do more. It vould insure the showing of a picture in the order in which it is in- ended to be scen, and thus give it the advantage of being seen at its hest. Many productions have been condemned by people who have seen hem by piecemeal, the last part before the first. the epilogue before the rologue. It is a familiar trick of the young girl to look at the end of he book to see how the story is going to end before reading the intro- luction. Everybody with good sense knows that this kills the effect of he story, and certainly such a custom destroys everything dramatic in b play or a picture. The public of Washington should have the benefit f the reserved seat in the first-class picture houses. %k ok % 3 ECIL B. DE MILLE is to hook up with the Cinema Corporation of America, which is to be formed in Delaware with a capital of £10,000,000, and he will take his “stars and satellites” with him. His pic- ures. two a year, with 10 to be personally supervised, will be made at he old Ince studio, which will be known as the Cecil B. De Mille Studios. [lLeatrice Joy is to be the star of his first new picture, but in what is re- erved for later announcement. Tale of a Goblet. 'N these more or less barren Vol- steadian days it is not surprising f shops do not ca complete lines ¢ glasses to purvey the cup that was ormerly intended to cheer. Which reamble appertains to the produc- ion of John Galsworthy's “Old - sh” at the Ritz Theater, in New fork. During the course of the irama George Arliss, Sylvanus feythorp, is called upon to drain everal glasses of brandy. Assuredly his sort of gentleman in old-school ingland would have been served his ibations from a brandy goblet. Brandy moblets. it is true, do mnot Lary greatly from champagne gob- ots, although to persons well versed h such matters the difference is dis- inct, if not conspicuous. So it was lvith considerabl perturbation that furchasing scouts from the Winthrop mes office confessed their inability o locate any brandy goblets in the netropolitan shops. Rehcarsals pro- ressed to the “dres: stage, and hen, finally, the premiere itself was t hand, but still no brandy goblets! t the last moment it was decided to e champagne goblets, with the fer- vent hope that no hypocritical spe. tator out front would note the laps in correct service. Apparently no one did, but every- body concerned with the production was aware of Mr. Arliss’ and Mr. Ames’ attitude in the matter. So, when Eustace Wyatt, a member of the company, saw a number of brandy goblets in the window of a Madison avenue antique shop recently ne has- tened in to price them. He was somewhat taken back, however, when informed they were $8.50 each, and as “01d I:nglish” had been running sev- eral weeks and the matter of the glasses was no longer in discussion, Mr. Wyatt hesitated to buy such ex- pensive vessels without authority. So he asked if he might purchase one on approval, and, in turn, was requested to step into the store manager's office. “For what purpose did Mr. Wyatt desire the goblet?” And as he ex- plained, the manager's face broke into a wide smile. “A strange coincidence, replied the manager, lifting a small package from his desk. “Not two hours ago es, and news from Hollywood | leads | It also is not true | |always the perfect actor, | | | | fi o SEg s | History at %the Ambassador E publie service and educational 'H [ department of the Crandall Thea- | ters, Harriet Hawley Locher, direc or, has completed arrangement for ntation oT the Yale n's “Chronicles of photoplays on afternoons during March and April at Crandall's Am bassador Theater, Eighteenth street and Columbia road northwest. The “Chronciles” visualize the out- standing events in the early history of the Nation and bring to the authentic pictures of the publ ures who dominated the periods which they lived. The first showing will be on Tue: day, March 10, and the subject will be “Columbus The screenings will begin at 4 o'clock and continue until | approximately 5:15 each Tuesday Special tickets are being printed to |cover the entire series of eight bills. Single admissions will be on sale at the box office on playing dates only This series of picturized American historical incidents has been hailed 4s one of the finest achievements in the development of the motion pic- ture Old: (Playweaghe. i HOrGeu‘ J¥ the srim, unshaven represents “Sergt. William Fox picture, “The Iron | Horse,” only the veteran theater- goer will recognize Francis Powers. the playwright of an earlier day, au- thor of “The First Born” and a mem- ber of the writing staff of Charles Frohman and David Belasco. His initial attempt at writi of Chine Alcazar Theater in o in the early 90s. cored such a success that it was brought to New York, where its popularity was even greater. After its run here Mr. Powers took “The First Born” to Lon- don, where he directed its presenta- tion at the Globe Theater. Mr. Powers returned to America to join the writing staff of the Frohman enterprises. He had much to do with the final shaping of plays used as vehicles for John Drew, Maude Adams, Richard Carle and others of the Froh- man menage. For four years Mr. Powers held a similar position with David Belasco, during which he as- sisted in_ producing ‘“Zaza,” “Du Barrs “The Girl of the Golden West” and others almost as well re- ceived. A native of Milwaukee, Mr. Powers went back to the West, where he pro- duced stock plays in Denver, later go- ing to Columbus, Ohio, and Toronto. Eleven years ago he became interest- ed in pictures and became a director with the old Essenay, Biograph and others. At the same time he wrote scenarios, selected performers and di- rected the productions. Sometimes he even turned the camera crank. | the exclusive pri Alumni Associa American History |eight Tuesday in Iron figure that Slattery,” in the dramatie e life, Fame, Fleeting Fame. E ephemeral nature of theatrical popularity is illustrated in Ceeil B. DeMille's lastest picture, “The Golden Bed.” Among the players of featured prominence are found quite a group of comparative newcomers, like Rod La Rocque, Lillian Rich, Vera Rey- nolds, Warner Baxter and others, and down in the cast, in roles of minor importance, are two names which were once written across the Ameri- can theater in letters of fire—Henry B. Walthall and Robert Edeson. The post-war flapper and her es- cort of the 18-inch-wide trousers would probably dismiss with disdain the mention of either name, but to the older generation it seems only a year or two ago that Robert Edeson was setting Broadway wild with enthusiasm over his performance of “Strongheart,” while but a matter of months ‘back the dashing, mercurla Walthall was actually raising cheers in a theater as the little Southern colonel in Griffith’s “Birth of a Na- tion.” There is something tragic about the careers of both these men. Ede- son’s inability to find a successor to “Strongheart” soon became a Broad- way tradition, and for one reason or another his prestige waned from the moment of his greatest success. At last he retired to Hollywood and waxed affluent, playing the part of iron-jawed captains of industry in pictures featuring pretty blonde actresses and younger and sleeker men. Walthall's rise to fame was spec- tacular, but his decline seems even more so. To Griffith, Walthall was but that big, outstanding success in “The Birth of a Nation” did something to Walthall that no one has ever at- tempted to explain. He worked for Griffith in one or two pictures later, but he was not the same Walthall. Once every year or so he crops up in some new photoplay and now he reappears in DeMille'’s “The Golden laying almost a “bit|"” Frank Galsworthy, artist and a cou- sin of the dramatist, came into the shop and purchased one of these same glasses, with Instructions that it be | sent tg Mr. Arliss with his compli- Mr. Galsworthy said it was the only flaw he had noticed in an otherwise perfect production, and that he had been scouring New York shops for the better part of three days in an endeavor to procure for the actor a genuine English brandy goblet.” So Mr. Arliss now a-nights at the Ritz has the right goblet. but prob- ably no brandy to put therein! ments. The First Born.” a tragedy | was reproduced at the | At the Photoplay Houses This Week COLUMBIA—"The Golden Bed.” Shown this aiternoon and evening. METROPOLITAN evening. RIALTO—"Secrets evening. PALACE—"Cheaper to Marry TIVOLI—"Wages of Virtue.” AMBAS:! evening. CENTRAL- evening. LINCOLN (colored)— of the “The Fearless Columl’:ia—"’n)e Golden Bed.” Cecil B. De Mille's production. “The Golden Bed,” pictured from Wallace Irwin’s study of American morals and marriage. 1s scheduled for Loew’s Co- lumbia Theater this week, begin- ning this afternoon. De Mille has brought to “The Golden Bed” his well known flair for spec- tacular and lavish costuming and settings, and a cast that includes Rod La Rocque, Vera Reynolds, Lillian Rich, Warner Baxter, Theodore Kos- loff, Julia Faye and others. Jeanie MacPherson is responsible for the adaptation. The story concerns the daughter of an impoverished Southern aristo- crat whose whole idle, luxurious na- ture is symbolized by an immense golden bed, once the property of the Italian De Medicis, in which she sleeps. Added features will include a com- edy, International News and Colum- bia orchestral music. Metropolitan—"Love's Wil- derness.” Corinne Griffith, in an entirely new type of drama, Robert Z. Leonard's picturization of “Love's Wilderness,’ adapted from the novel “Wilderness, by Evelyn Campbell, is announced for Crandall’'s Metropolitan Theater this week, beginning this afternoon,” to- gether with a new two-reel Christie entitled “Sea Legs,” featuring Neal Burns: the Metropolitan World Sur- vey, varied short reels and an elab- orate musical program. “Love's Wilderness” is the story of a voung girl reared on a Southern plantation Ly three strict spinster aunts. The youth she has always loved is a dreamer and student and does not hesitate to accept a distant appointment on a scientific expedi- tion. The boat that bears him away brings back to the little landing an- other lifelong friend of less worth but greater effusiveness. He and Linda Lou Heath are married ana move to the wastes of Canada, whers Paul L'Estrange, the husband, be- comes implicated in an enterprise that eventually lands him on the Malay prison island of Le Diable. Hav- ing secured her divorce, Linda Lou consents again to marry the man of her first choice, who is assigned to Le Diable, and there the bride dis- covers her former husband working: in the chain gang. By a trick of fate and the hazards of mutiny, Paul is enabled to save the life of the wom- an who was formerly his wife. From this situation is built the climax. The overture will be “Southern Rhapsody,” by Rosmer, and Miss Viola T. Abrams, solo harpist of the Metropolitan Symphony, will be heard in a brief individual interval. Rialto — “Secrets of the Night.” “Secrets of the Night,” at the | Rialto Theater this week, is a screen version of the play, “The Night Cap,” by Guy Bolton and Max Marcin. James Kirkwood and Madge Bellamy are the featured players, with Zasv Pitts and Rosemary Theby support- ing. % Mystery is the keynote of the story. of which most of the action takes place in a house where the characters are assembled as week end guests of Love's Wilderness.” Night.” Shown thi Shown this afternoon and evening. DOR—“Love’s Wilderness.” Lover.” | ea Shown this afternoon and Shown this afternoon and afternoon and evening. Shown this afternoon and Shown this afternoon and So Big.” Shown this afternoon and evening. a banker. by uses The house appears haunt- a great malign influence that friends and busin asso ciates to become suspicious of each other. Cross-purposes are everywhere, and laughter, thr intermingled in a high-tension at mosphere, culminating in a hilarious | ending. An added attraction House of David Jazz Band, sync pators from Benton Harbor, Mich., who have scored an emphatic success in the cities in which they have re- cently appeared The overture by the Rialto Or- chestra, under Mischa Guterson, will be the “Second Hungarian Rhapsody,"” by Liszt. A comedy, scenic and in- ternational News reel will complete the bill. will be the Palace—'Cheaper to Marry Conrad Nagel, Lewis S. Stone, Mar- guerite De La Motte, Paulette Duval, Louise Fazenda, Claude Gillingwater and Richard Wayne Interpret the principal roles of “Cheaper to Marry." the Metro-Goldwyn picture of Samuel Shipman’s play, which is scheduled for Loew's Palace this week, begin- ning this afternoon. Robert Z. Leonard, who is respon- sible for Mae Murray's gaudiest spec- tacles, was the director. “Cheaper to Marry” is described as “a social inquiry, developing the theme that marriage is, after all, the best, the most wholesome and infinitely the most economical solution of the sex problem. Added features will include a new Ralph Graves comedy, “The Beloved Bozo”: the Pathe News, Topics of the Day and orchestral contributions. Tivoli — "The Wages of Virtue.” Gloria Swanson will be the picture star at Crandall's Tivoli today and tomorrow, in Paramount's “The ‘Wages of Virtue,” adapted by For- rest Halsey and directed by Allan Dwan. It is the story of a young Italian girl whose life proves to be replete with romance. Mack Sennett's “Love Sweet Piffle” and the Pathe Re- view also will be shown. Tuesday and Wednesday. the Tivoli will offer First National's “Husbands and Lovers,” featuring Lewis Stone, Florence Vidor and Lew Cody: Cliff Bowes, in “Weak Knees,” and Grant- land Rice “Sportlight” entitled “Brain and Brawn”; Thursday and Friday, “Tomorrow’s Love,” a Paramount featuring Agnes Ayres, with Pat O'Malley and Raymond Hatton, and Hal Roach’s “The Goofy Age”; Satur- day, Tom Mix, in “The Deadwood Coach,” with Doris May; the Spat Family, in “Political Pull,” and the “Galloping Hoofs,” No. 7. Ambassador—"Love's Wilderness.™ Corinne Griffith, supported by Ian Keith, will be the picture at Cran- dall's Ambassador Theater the first three days of this week, beginning this afternoon, in Robert Z. Leonard's production of “Love's Wilderness,” and Charlie Chase, in “The Wamily Entrance”; Wednesday and Thursday, Marie Prevost, Monte Blue and Clara Bow, in “Daughters of Pleasure, Mack Sennett's “East of the Water Plug,” two reels of fun; Friday, Betty Compson, in *“Locked Doors,” with Theodore Roberts and Kathlyn Wil- liams, and Walter Hiers, In “A Fat Is and romancé are | “Passion Play” at Auditorium. - An artistic screen presentation of the Freiburg Passion Play, depicting the passion and life of Christ, is the unusual offering at the Washington Auditorium next week. Because the Auditorium could be obtained only for one week, and because of the co- lossal proportions of the theme and the production, special matinees will be given Monday, the 23d, and Sat- urday, the 28th This sentation is among the early showings of the picture It has been given re- lease in Europe sufficiently long to develop into an outstanding success. The plavers are reared and trained for theit roles and live the parts. Not one is a professional actor. They are residents of the community of Freiburg—simple country folk en- gaged in clockmaking, woodcarving, toymaking and similar pursuits, and who engage in the periodical presen- tations of the Passion Play as a de- votional duty The Freiburg Passion Play is the connecting link between the dark ages and the present. As early as the vear 1246 Freiburg was selected as the spot in which to produce the | Passion Play. It was not until 3 | years later that the Oberammergau | Passion Play, now an institution of international celebrity, came into ex- istence either Freiburg nor gau, 50 miles distant, have hitherto | permitted a motion picture be made of their sacred drama. RIS s SO House of David™ Band. S\PHE House of David Jazz Band,” which is to be a featured musical attraction at the Rialto Theater, is com- posed of nine men and one woman. They have achieved success in many of the ‘larger cities. They are noted not for only their excellent rendition of jazz selections, but also for their unusual personal appearance. In accordance with the custom of | their cult of the House of David the men | in the band have never had their beards shaved or the locks of their hair shorn. “The House of David Jazz Band” is id to be unique as a musical organi- zation and to rank high among jazz bands for its music. Many of its selec- tions have been popularized on phono- graphic records Oberamme to Chance”; Saturday, “Honor Among * adapted from Richard Harding Davis' novel, “The King's Jackal”; “Our Gang,” in “Every Man for Him- self,” and “Galloping Hoofs,” No. 8. Central — "The Fearless Lover. unks and Eva Novak seen today and tomorrow in less Lover,” at Crandall's ntral Theater. together with Harry gdon in Sennett's “The Hansom Cabman” and the “Screen Almanac”; | Tuesday and Wednesday, James Oliver { Curwood’s “Nomads of the North.” with Lewis S. Stone, Lon Chaney and Betty Biythe, and Neal Burns in {Christie’s “Easy Pickin's”; Thursday land Friday. “Worldly Goods,” starring Agnes Ayres, and a new Hallroom Bovs comedy, “My Mistake”; Satur- day, John Gilbert, Eleanor Boardman and Aileen Pringle in Metro's “Wife of the Centaur,” the story of a woman who married a man who was half poet and half brute, and Mack Sen- nett's comedy, ‘“Wandering Waist- line Lincoln—"So Big." leen Moore will be the star the first three days of this week at the Lincoln Theater in First National's film version of Edna Ferber's novel of the Tllinois small town complexes, “So Big.” The story is that of a wonderful mother and a disappointing son, the star appearing in the former role that spans a lifetime from girlhood to elderly motherhood. The supporting cast includes John Bowers, Wallace Beery, Gladys Brock- well, Phyllis Haver, Rosemary Theby, Jean Hersholt, Sam de Grasse, Charlotte Merriam, Baby Dorothy Brock, little Frankie Darrow, Ford Sterling and Dot Farley. The comedy is “Empty Heads,” starring Cliff Bowes, and a new issue of Kinograms will be shown. Wednesday and Thursdas, John Gil bert and Norma Shearer, in “The Snob,” directed by Monta Bell; Mack Sennett's “Little Robinson Corkscrew,” starring Ralph Graves, and a new Lyman H. Howe “Hodge Podge” ; Friday and Sat- urday, Claire Windsor, Lloyd Hughes and Frank Keenan, in *“The Dixie Handi- cap,” a story of Southern aristocracy, depleted fortunes and the race tracks, and for the comedy a youthful cast in “The Junior Partner.” Saturday the ninth installment of “Galloping Hoofs™ will be shown. Apollo. Today and tomorrow, Nazimova and Milton Sills, in “The Madonna of the Streets,” and Cliff Bowes, in “Weak Knees”; Tuesday and Wednesday, Lon Chaney, in “He Who Gets Slap- ped,” and ” Sennett’s “Wandering Waistlines”; Thursday, Betty Comp- son, in “Locked Doors,” and Stan Laurel, in “Rupert of Hee-Haw"; Friday, Agnes Ayres, in “Tomorrow's Love,” and Lige Conley, in “Rough and Ready"; Saturday, Harry Carey, in “The Flaming Forties”; juvenile comedy, “Dirty Hands,” and “Gal- loping Hoofs,” No. 6. Avenue Grand. - Today and tomorrow, Lon Chaney, in “He Who Gets Slapped,” and Sen- nett’s “East of the Water Plug” Tuesday and Wednesday, Nazimova and Milton Sills, in “The Madonna of the Streets,” and Clif Bowes, in “Have Mercy”; Thursday and Friday, Claire Windsor, Lloyd Hughes and Frank Keenan, in “The Dixie Hahdi- cap,” and Al St. John, in “Lovema- l ; Saturday, Helene Chadwick, in Trouping With Ellen”; Aesop Fable 2nd “Galloping Hoofs,” No, 1, MUSEM ENTS CORINNE. GRIFFITH~ Metropolitan. THAT greater advances in the art of motion picture production were made during 1924 than during any previous year of the industry’'s history was the assertion of Adolph Zukor, president of the Famous Players-Lasky Corporation, recently to a radio audience in New York. Mr. Zukor told of the strides of the past year, and then predicted that 1925 would see even greater Drogress. He predicted new faces on the screen, new favorites. There has been In- creasing use of natural locations as { backgrounds for stories. Story values lare being improved, and will co | tinue to be by invitations to authors to spend several weeks in the studios of Famous Plavers as guests of the company, so that they may learn the technique of the screen. “No producer or exhibitor with even ordinary brains,” says Mr. Zukor, “can fail to recognize the public de- mand for pictures of a better class, “More and more producers are tak- ing pains to make pictures accurate in every detail. The practice of using natural backgrounds and authentic settings, which advanced so rapidly during 1924, will be even more evi- dent in 1925 and in the yvears to come. Another noticeable improvement |the determination to supply new |faces on the screen. Although the | motion picture public is loval to it favorites, it neverthless tires of see- ing the same faces w k in and week out, so it necessary 4o provide variety. These new people are found in all walks of life. “It was desired to make the screen production of Sardou’s famous play, ‘Mme. Sans-Gene,” accurate in every detail, so Gloria Swanson went to France, and there she was sur- rounded by a company of eminent French players, many of them the leading lights of the French stage. The aid and co-operation of the French government was sought and obtained. “To make ‘The Thundering Herd,’ another picture, a company of almost 1.000 people was sent from California up into the snows of the Sierra Ne- vadas and kept there for weeks, en- during real hardships from cold and exposure. For ‘The Air Mail'’ a large company was nt from California to the air port at Reno, Nev., so that in all the surroundings the proper atmosphere could be furnished. Thomas Meighan's new picture, ‘Coming Through,” is laid in a coal-mining region. Mr. Meighan and 60 others is Carolina. Today and tomorrow, madge, in “Secrets’ Wednesday, “Feet of Clay Reynolds and Rod La Roqu; day, Marie Prevost, in * Friday, Shirley Mason, in Diamond Mystery”; Saturday. Mix, in “Teeth.” Chevy Chase. and tomorrow (doors open 2:30 p.m.), Harold Lloyd, in “Hot Water”; Aesop’s Fables and News | Events; Tuesday, Richard Barthel- | mess, in “The Enchanted Cottage”; Sunshine comedy and newspaper fun Wednesday and Thursday, Conrad Nagel, Eleanor Boardman and Lew Cody, in *“So This Is Marriage”; fight and win series, “Health Farm Wal- lop”; News Events; Friday, William Fairbanks and Eva Novak, in “Rac- ing for Life”; comedy; fourth chapter “Ten Scars Make a Man,” and Satur- day (doors open 2:30 p.m.), Larry Semon, “The Girl in the Limousine hysterical comedy, “Paul Revere,” and ninth chapter “Into the Net." Circle. Today and tomorrow, Vidor and Clive F of the Hungr: Mad”; Tuesday Alma Reubens and Wyndham Standing, in “The Reject- ed Woman"; Wednesd “Tea With a Kick,” with Doris May and Creigh- ton Hale; Thursday and Friday, showing to 9 p.m, Rudolph Valen- tino, in “The Sainted Devil Satur, day, Hoot Gibson, in “The Ridin’ Kid,” and serial, “Into the Net." Dumbarton. Today, Eleanor Boardman and Con rad Nagel, in “So This Is Marriage! tomorrow, Glenn Hunter, in “Merton of the Movies"; Tuesday, George O'Brien, in “Daughters of the Night"; Wednesday and Thursday, J. Warren Kerrigan, in “The Covered Wagon"; Friday, T. Roy Barnes, in “Reckless Romance”; Saturday, Jacqueline Lo_ gan and Rod La Rocque, in “Thé Code of the Sea.” Norma Tal- Tuesday and with Vera Thurs- “The Great Tom) | Today | Sunda Florence ‘hristine fotor Empire. Sunday and Monday, Monte Blue and Marie Prevost, in “The Lover of Camille,” comedy, “Anthony and Cleo- patra”; Tuesda John Bowers and Alice Calhoun, “The Code of the o “His First De- gree”; ¥ and Thursday, Irene’ Rich and Ricardo Cortez, in “This Woman,” and Felix, in “Out of Luck”; Friday, Doris Montagu Love, in “Restless Wives,” and comedy, “Sweet Papa”; Saturday, J. B. Warner, in “Treasure Canyon," and Charlie Chaplin, in “The Vaga- bond.” Matinee features Saturday. final episode of “The Fast Express,” starring Willlam Duncan, and a kid- dies’ surprise party. Leader. Today and tomorrow, Tom Mix, in a popular revival of “The Foreman of Bar Z,” a Western of thrills, sensa- tionalism and daring; also “Into the Net” and an “Our Gang” comedy. in * Olympic. Today and tomorrow, Matt Moore and Dorothy Devore, in “The Narrow [Street”; Tuesday, Eleanor Boardman {and Conrad Nagel, in “So This Is Marriage!”; Wednesday, Agnes Ayres, in “Worldly Goods”; Thursday and Friday, Betty Bronson and Ernest Torrence, in “Peter Pan”; Saturday, Claire Windsor, in “The Dixie Handi- eap.” ip“ndm of | paratively rnered”; | Kenyon and | The Movies' Future. went from New York to Birminghan Ala, and worked for two weeks in the coal mines at Newcastle to get the desired scenes. The screen version famous play, ‘The Swan,’ provides another example. There was some difficulty in finding an actress suit- able for the title role. One night, at the Lyceum Theater, in New York Mme. Molnar, wife of the author, saw a girl walk on the stage in a pla called ‘The Best People. Instantly she recognized this girl as the type to play ‘The Swan’ As a result Frances Howard, who never had aj peared in a motion picture befor: secured one of the most coveted role of the year. “Given every other element neces sary, good stories are ntial. Tl Famous Players-Lasky Corporation maintains a story department, wh is really a clearing house for literature of the world. Briefly, the story department covers in advance every word of fiction of importance {in the United States and Englar It has representatives In London and Paris to watch all published novels and produced plays, and to send ad vance information to the home offic It has scouts in Berlin, Vienna, Buda pest, Madrid and other Europea | cities. Everything sent to the ma | office is catalogued, and a dige | i Molnar's made. Files of these digests are at each studio. | “Every vear the department x or eight bulletins describing : | plays produced in New York and : books published, as well as all i gazine stories. The librar this department, which is c new, now contains 25,000 books and plays.” issu Doug to Dance. THEODORE ~ KOSLOFF, Rudclp Valentino and other Hollywood sheiks and dancers had better look out. They are to have a rival. Douglas Fairbanks is about to pilfer their laurels in the ping stuff.” Mr. Fairbanks had his first filng at tripping the light fantastic when he stepped before the camera in all the ’1”*{1“. ned glory of Don Q. picturesas Spanish hero of his new photoplay « that name Juliette Belanger Doug’s danc- ing partner. Doug does the tango, fandango or something, aided and abetted by Miss Belanger. Park. Today and tomorrow. in “Janice Meredith, News events; Tuesday, alli and Percy Marmont, in “K—the Un- nd Lige Conley, in a Mer- medy, “Fast and Furious and Thursday, Betty npson and Warner Baxter, in “Ti Garden of Weeds,” and Bobby V. | non, in “Bright hts”: Frida | James Kirkwood and sem | Theby. in \“The Eagle's Feather' { Jimmie “Savage Love.’ and G Events: Saturday Barbar arr, Pat O'Mall Wallace rv, in “The Eternz Struggle,” and Christie Comedy Wwith Neal Burns, in “Court Plaster.” Sat- urday matinee only, “Wolves of th North,” final chapter, No, 10. to tr “step is Marion Davies, and Pathe Prlncess. Today and tomorrow, Mary Pick- ford, in “Tess of the Storm Country” Al St. John, in “Stupid, But Brave News teel and second episode “Riders of the Plains”; Tuesday. “Two White Panthers” and comedy Wednesday, Clara Kimball Young, “The Worldly Madonna,” and Hall Room Boys, in “We Is Last Thursday, “Why Get Married,’ Aesop’s Fables, comedy amateur night; Friday, William nks, in “Down by the Rio Grande”; Jack Dempsey, in “A Kayo for Cupid,” and comedy; Saturday, Richard Talmadg in “American Manners”; Our Gan comedy, “It's a Bear,” and episode six, “The Ridge Rider.” Matinee daily at 2:15 pm. Savoy. Today, Anna Q. Xils | Fire Patrol” znd the in “Broadway Beauties Fox's “The Temple of comedy, “Inbad the Sailor Lionel Barrymore, in T Am the Man.” and Lige Conley, in “Rough and Ready”; Wednesda “The Truth About Women,” and Andy Gump, in ggravating Mama Thursdar, J Warren Kerrigan, in “Captain Blood Friday, . John Gilbert, in “Cameo Kirby,” and Sennett’s “Lizzies of the Field”; Saturday, Elaine Hammer- stein, in ‘The Midnight Express,” and Lloyd Hamilton, in “Jonah Jones. on, “The olly : tomorrow, nus,” and Tuesday in Takoma. Today and tomorrow, Thomas Mei- ghan in “Tongues of Flame”: Pathe News: Topics of the Day. Matinee 3:30 p.m. Tuesda; Betty Compson, in “The Garden of Weeds' comedy, “Powder Marks"; Wednesday nd Thursday, Rod La Rocque, in Lloyd Hamilton, in Friday, Lew Stone, “The River's End”’; “Galloping Hoofs,” No. 4; Aesop’s Fables; Satur- day matinee, Wesley Barry, in “Rags to Riches:" Aesop's Fables; “Ten Scars Make a Man,” No. 7; comedy; Satur$ day evening, Marie Prevost, in “Cornered”; Aesop's Fables; “Ten Scars Make a Man,” No. 7; comedy. York. Today and tomorrow, Claire Wind- sor, Lloyd Hughes and Frank Kee- nan, in “The Dixie Handicap,” and Lloyd Hamilton, in “Crushed”; Tues- day, “Dante’s Inferno.” and Neal Burns, in “Easy Pickin's": Wednes- day, “The Man Without a Heart” and Sunshine comedy. “The Masked Mar- el”; Thursday, Helene Chadwick. in ‘Trouping With Ellen”; Cliff Bowes, in “The Mad Rush,” and “Sportlight Champions”; Friday, Reed Howes, in Lightning ‘Romance,” and Irvin S. “One-third Off"; Saturday, Anna Q. Nilsson, in “The Fire Pa- in “Jubilo, Jr," trol,” “Our Gang” and “Galloping Hoofs,” No. &,