, mf Ueci i I tit Bf 1 de Mille on the Movies' Present State Difltinguislic d Laslcy Direc tor Talks on the Problems of the New Art r ' CECIIi D DB MIMiC. director general 0f the Jesse U Lnsky Feature Play company nnd one of the ben-known dlrec tVr In the Industry, ww In .New York Inst .1, fnr a. few hour on business, but be Sri he wuld start on his way back to the f?r!ii. Hollywood. Ca ., the usual reporter LUuJn h m He ld not, however, give the 2ml" InTervlew. He had many and Inter 2TJ thlntrs to say. ns any one who has ,een his productions at the Stanley or i-aiace mltht have guessed. -What. In your judRment." Mr. Do Mlllo . askedi "Is to be the length of the mo tion picture In the future,?' I wish you could telj me that." he said, because I have been trying to tell mysolf, and t don't think thcro Is any one who really knows at the present moment. It Is nulto true that the ordinary first-class story Sn be to'11 "lmlrably within the space of an hour and fifteen minutes, which Is about the livers go tlmo of presenting a flvc-rcel fca fure." "Don't you think many featucs now told In nve reels might be told In three?" Mr De Mille laughed a bit nnd replied, I think there nro many flvc-rcel pictures on the market that had better -not been iold at all. Seriously, howovcr, I should ty there nro a good many pictures taking their plnces with standard program re leases that have been considerably padded. The fact Is, however," continued Mr. Do Mille, "that all this question of length, footage, tlmo of presentation, etc.. Is wholly dependable upon the very foundation of the dramatic side of motion pictures. That m j..t vao.b almnlv nnd whnllv In thn ! lono word story. You can tako tho finest cast of actors that was cvor assembled, .nA mnnev lm sh y on nn cianornio pro duction, photogrnph tho entire assemblage exquisitely and unless the story you have to tell Is a good one you have a failure on your hands. On tho other hand, you can take bad actors, bad production, bad photography nnd have a good story, and wild horses can't lead your audience away until the plctaro Is finished. "Our great trouble hat been to find writ ers who can produce this kind of photo plays. Tho dramatist seems to rely too much on rtie spoken title, which Is tho volco of tho actor to him. Ho has n tendency to facrlflce the thrilling scenes for some well termed phrnso to Hash on tho screen. The novelist seems unable to narrow his actions down to tho limitations of tho camera. Ho gives his descriptions nnd his characters too largo a field In which to work. Ho de scribes some thrilling Incident In 'such a manner that If It wcro photographed ns wrlten It would mean merely a waving of arms to tho photodramatic audience. "The new school of photodramatic writers teems to be coming from a younger genera tion. Newspaper men and women seem to be especlaly well qualified for this work. I cannot set my finger on tho exnet reason why, but such seems to bo tho caso. Our two beat photodramatic authors aro still In their twenties, nnd they aro both graduates from the newspaper college. Their feet, of course, had to bo placed In the proper path and their foootsteps guided at first by a trained dramatist, but as soon as they grasped the dramatic construction they were able to go ahead and produce excellent results. The perfect photodrnma has as yot not been written, for tho samo reason that as yet the great American drama hns not appeared on the stage. "As I said In the start, photodramatic writing Is a new field, nnd I feel confl- dent that in the not distant futuro it will have Its PIncro, Jones. Thomas nnd nerhans a Shakespeare. Til. HllV nf fhtt Inavnniit. . A..rt n.n nn the screen has passed and the casts for tho photoplay must bo selected with the samo care, as would bo taken with the presenta tion of a thorough New York production. I And I can get better results with nrtlstn who have had stage experience and dra matic training than with those- who have not. "Settings are mere background for the actors, and while they should bo complete In every detail, the actor should not be subordinated to the scene. Painted can vas for stage settings has seen Its day and should we even attempt to present our photodramas with tho majority of settings used In Bpoken drnma our pictures would be laughed out of the theatres. It Is necei aary to construct a room exnetly as It would b In a homo, with tho painting and the woodwork nnd the Interior decorating of the best. The nhatodramntlR niiriln-pn An no allow us even tho slightest margin for rror. EVENING LEDGER pmiAl)ELPHlA, SATURDAY, JUNE 10, 1916. Amusement Section, THE CAMERA MAN CAPTURES A FEW NEWS PICTURES OF PHOTOPLAY CELEBRITIES JW- r m"-------m--M--m a -, f SllHaPneaLLB kssd &T WWW ir JllsMM .1 ALL ABOARD FOR FLORIDA llBaMevrlliBllilMIM11 w' "Si? flaPBttflal; JsMB&nBKi Gnumont-Mutual directors nsscm- WmWmlWKKBBgUjSaSSBKmw 1 Mh TOffiMMMMLi bIe(1 in thc Northern studio just WEtflKMnwBKBEmlKKKUB iS '4 Mj mSSbbPE&0$&mbSR before leaving for thc new plant in fflK jflHnPHH'l it W ftMHfflflmrfflrrlLLM v Jacksonville. Left to right, Fritz raPJIHHBrflilHiaLBHrV - il raBMSJ WWllmKl Orlando, Wm. F. HatUlon, Billiard mmk'mBm )M s:H ) mfflffiWmmmBA Gnrrick nnd Edwin Middlcton, di- mZMK''JM&ri . WV OHl4 Mt$ ilHwKliilSliLLH rectors; lower, Wm. Chamberlain KMiK'W. M&' aa-LH'iWlii MsHUSBBimmwStimD. nn(1 Allnn Robinson, assistant di- WBtw wzMmmmia? Y vPi) msmaBkwKStKt rcctors- ' "AS. aHaf-aa"" Btev . Tank - .2 I 1 w;i oSSiSamS i '" ' M' ""fitm Tf - THE THEATRICAL BAEDEKER of music. The Ideal director will tako care that music shall be adapted to his film play with no less pains than that shown by a modern composer for his libretto. "Tho photodramatic art la still In Its In fancy, but wo nro growing day by day. Thc devices used six montliB ago nro dis carded today ns nntlctuntcd. What tho next six months will bring forth no one knows, but I feel confident that tho pho todrama Is established It la as a sister art of tho spoken drnma i and whllo thc stage will never fnde, tho photodrama will bo Its equal." PERFECT PRESS AGENT EFFICIENCY PRODUCT fw "i regard to photography, I have al- i. "1 lno nrl ot lne ain-ereni Khools of painting could bo transferred to we Infinitesimal size of motion plcturo ex posure, and that we can give all the neces sary art effects, simply having our char acters moving Instead of still as In a paint ag. I havo used the Itembrandt. the Im pressionistic and the Japanese schools with Tery good results. 1.7. h5ve 'wned that too much detail ja the background tends to distract the at- .i0n,0 ,ho aut"ence from the players in the foreground, so nfter establishing the locations of scenes In the minds of the nu oience I abandon everything but a mere aureestlon of It to get the effective acting f the artiats. .rt". In a,11 bran:h of the photodramatlo w!eJ" room toE Improvement In the Photography. I mearT In the technical feat fJr. ual Rttalnment of calculated ef jkis. There Is also the contributing factor Continued from I'obb One synchronization of nil tho nrts as expressed In Its peculiar form, was not a "show" but an artistic movement, nnd, so, vital to ono's esthetic education. It would be dlfllcult for any one to say that a production absolutely lacked a sales point. A clover press ngent usunlly can find ono In any offering, howovcr Inferior, and although It eventually might not be enough to combat losing fnctors that mako withdrawal of the production Imperative. Creation of a sales point In n play, where one Is lacking. Is not easy. It may be Just Indication of tho need to bo worked out by dramatist or producer In their respective departments, something Inherent In the pro duction, compelling and positive. Slmplo declaration that n play Is "the best to be Been." or "a dramatic hit," conveys noth ing distinctive or original, although I must confess thnt "the Greatest Show on Karth" was made, through constant Iteration, to mean tho D.irnum & Bailey Circus. It should consider that plus tho wnnt created In a potential patron are certain Individual prejudices to bo overcome. A possible scat behind a post may bp qulto ns vital to some mind ns question of nuallty. Two of my 'Important sales points In tho I,lttlo Theatre were that ono could seo and hear excellent ly from nny seat In tho nouse. Tho real advantage was that these points absolutely were substantiated In fact. To mako the sales point something unique, a detailed study Is made of recent and contemporary theatrical conditions. It was because sex dlucusslon was occupying the theatres at the time, that Lcander Illchardson was enabled to get thousands of clergyman to recommend the cleanliness of "The Things That Count." If the public has shown sudden disllko of plays of un moral character, it nover will do to oven suggest spice here. On the other hand, It may not bo well to overemphasize moral quality for fear of creating suspicion of the roveree. But knowledge of what com petition Is employing for Its sales argu ments proves a key of what not to use If tho campaign Is to be distinctive. A fixed policy Is Imperative In a successful campaign, for tho campaign must be con certlvo In order to bring nbout the large number of small sales necessary to mako up paying receipts In tho aggregate. Tho tono generally Is that of tho play Itself; dramatic If that Is tho nature of tho at traction, or humorous If thnt Is consistent Blood-curdling stories ordinarily do not succeed In conveying the spirit of comedy. Better business ever being tho positive aim, .It remains for tho press agent, after he has determined the class of persons to bo reached, and has found his sales point which Is to say, tho messago he wishes to convey to consider character of tho ad vertising nnd copy to be used. This depends on what one alms to accom plish1, the field ono desires to cover. News papers nnd magazines are to bo selected not merely by their net circulations, but by tho classes of people they reach, two things which change more or less from year to year. I often havo taken display adver tising In n paper of limited circulation at the same time that I have given minimum representation to another of enormous reaches, because the first was read by the exclusive group I then desired, and the other reached chiefly persons who could not afford our price, and who, If they could, probably would select broader types of amusement - Unfortunate It Is that In a huge metrop olis such ns New York one Is apt to forget places outside, and confine effort to the local press. In reality, New York Is "the dog town of America" meaning that its productions are Important nationally mainly as "tryouts" tor the rest of the country. And although the press agent, eager to show results for the security of his position, generally Is wary of bothering with cumu lative "stunts," which take time to mature, he Is trifling with his most valuable poten tial business by ignoring pertinent mediums that have Interstate and national circula tions. For every successful attraction there Is a probable route of engagements to be played when the metropolitan run Is ended. These places should be made aware of the at traction ana ns impurium oaic -ib-h ..,-. To that end, most resment press agenm re write their metropolitan matter for distri bution to certain out-of-town editors, in the form of a weekly letter; but It is up to the editors to make the matter available for local consumption. But every "news" Item, article, Interview or "human Interest" story sent forth should convey a sales point Paid advertising should do the same; and, as It Is buying merely a chance to distract the reader's attention from editorial matter. It should r.ot Btop at simple representation, pennlte purpose should be aslgi4 to each effort, whether posted on a bill-board, thrown In an area-way, folded as a herald In a pro gram or otherwise distributed. Perhaps, then, particular press work will achieve the dignified stability which li its due. The true definition of. a press agent theatrical or otherwise, Is Just another definition of efficiency or pf a sense of duty from the respective viewpoints of employer and promoter. It may be telllwj lies glib ly, dressing news attractively, or frankly advertising to create demand, tut In any case, It should check up its own results in patronage. can tnko care of herself." Anything the wlfo docs sho does with her eyes open. Tho husbnnd, llkcwlso with his eyes open, Instead of facing tho Issue In his own homo and making n fight for his wife, goes Into tho country nnd makes love to a sweet, Innocent llttlo Kirl. There was nothing to' wnrrant a horrible death In tho story. All these Illustrations nro apropos of tho "punch" of tho picture. They nro violent "punches." In truth, the "punch" Is the Idea back of the violence nnd not tho vio lence Itself. It Is tho montal, subconscious desire of every ono to see that Justice Is done that tho punishment fits the crime. Tho actual murder Is fiat and meaningless without tho reason Justifying It. (MONDAY LESSON 3 CONCLUDED.) STARS ARE PARTICULAR Here we have Billy Jacobs, of tho Famous Players, very busy at his toilet. He will soon bo seen in "The Clown." EVENING LEDGER SCENARIO LESSONS Contlntird from roue One mother's hand nnd rushed -In front of the man to be shot. It was n moment of supreme suspense Tho gunman lowered tho gun for an Instant nnd tho next moment It was too late, as thc victim suddenly returned to the saloon to see what was keeping his friends. For fear that some of my readers will think that sunpenso Is connected solely with murders, fires, robberies and other acts of violence, I will give a couple of examples of suspense, which nre Just) ns effective without the melodramatic features. In n forthcoming feature, released by Metro, a girl, alono with a man In a cabin In tho woods, steals a valuable! paper to save her father. Sho has come here for that purposo nnd knows thnt tho man Is a most despernto character. Tho audience Is bound to wait, breathless In expectancy, for him to discover tho theft. Several times It would seem that he Is on the point of making the discovery, but he doesn't do so. When ho docs make It Is Is under extraor dinary circumstances. Ills wild spirit has been leavoned by the sweet character of the girl. Ho falls In lovo with her nnd offers her everything ho has. Ho reaches for this paper In Its hiding place oven this shall bo hers the title to a vast property. Then, at the moment, when all Is best In him has come out, he finds that she is a thief her actions disclose this. There Is tho quick return to his former self. lie realizes that sho has made him love her only for this purpose. There Is continued suspense for two reels In this, a suspense that continually heightens. In 'another picture we see a girl, the heroine, working as a servant In a fashion able house. Suddenly the husband casts admiring eyes at tho girl. We see that she Is embarrassed by his evident designs. Suspense Is created, As the picture continues we see the hus band's Increasing Interest, and the suspense grows. -Whenever the audience Is in doubt and Interested In the outcome of a situation we havo suspense. LESSON 9 Punch THERE are times when It Is quite lm proper to use ''suspense," when the effect created would be Irritating, Ii other words, you must satisfy your audience. This usually occurs at the finish of the picture when you have worked the action up to a point where action or violence must bo done You have kept them waiting n long whllo and they demand n resulf. . Many good pictures full of "suspense" havo been ruined beciuso ttio author or director has fallen down when It camo to the "punch." You may recall tho line In the song from "The Mikado." "Let the punishment fit tho crime." You must keep this constantly In your mind. If a long-suffering woman gains tho sym pathy of tho audience, nnd they wait for nearly five reels to see tho villain "get his," you must mako his punishment HUfllclent to mako up for tho abuso she hns received In the past. You have developed an element of "suspense." Tho nudlqnco Is keyed up, waiting for tho tables to turn. When It does, the small boys clap and tho rest of the audience sltH back with a sigh of satis faction. They nro pleased. If you asked them why they nro pleased they probably could not tell you exactly. They aro normal people, and far from bloodthirsty, yet they welcome the sudden death or destruction of the bad man. With out realizing It they are acknowledging the law of compensation. It Is a fundamental quality In human nature and It Bhould bo fundamental In your photoplay. Suppose, for example, you make your heavy, or vllllan, ruthless and overbearing, particularly toward some physically weaker character, and at the end of the plcturo tho latter character figuratively says, "You have been cruel and heartless, but I for give you. Oo your way. I can get my ieveng6, but I am so charitable that I refuso to tako advantage- of you. Let this be a lesson to you." Your play means nothing. There Is no compensation for the crimes committed, j Then there Is the other side of the ques tion. Some photoplaywrlghts kill off their villlans for most trivial crimes. A recent release by a certain company will Illustrate tho point.' A man Is the protector of a small child. This child owns some property on which are some valuable timber rights. Three other men decide to "Jump" the property and cut the timber. The protector In a cold-blooded manner kills all three men. For what? The crime they attempted was not against person. It was something ad justable In civil law. If they had attempted to make away with tho child, .perhaps leaving her bound and helpless In a burning shack, It would have been another matter. They would then bo attempting to take a human life. It would bo an outrageous crime which would arouse the Indignation of all This brings up another point which will DO YOU KNOW HIM? Tiogans do. At or about Venango and 17th, patrons of thc Tioga may see Manager Stamper almost any fine day. be dlscusbed later. How could the timber rights bo "Jumped" If tho girl owned-them? Tho legal side of tho question evidently seemed of llttlo moment. But as a matter of fact It Is of vital Importance. If the scenario writer know the bother nnd trou ble questions llko this glvo tho editors they might be moro careful. To return to tho subject again, with an other Illustration that presents a closer dis tinction. In a plcturo considered for pro duction a married man was shown as want ing children and a happy home. A love affair between the wlfo nnd another man was shown. Tho husband, suspecting this, goes away, nnd after a tlmo falls In love with a slmplo country girl. There was tho usual lovo scene, but ha realized that he could not marry tho girl, so went back to his wife. In the end tho wife eloped with tho lover nnd both vvero killed In nn uutomo blto accident This Is the story In brief. There were a number of other situations In the story that made It worth consideration When a careful analysis Is made of the picture tho husband Is more of a villnln than the wife. If the wife does not love her hus band nnd she chooses to elope eventually with another man there Is no reason In the world why they need be killed. What great wrong has she done or the lover, either, for that matter? The husband, on tho other hand, has knowingly made lovo to an innocent girl. Consider the situation carefully. You may think that Inasmuch ns the sympathy of the audience will be witn the husband; that his making lovo to tho country girl will be overlooked, and perhaps this Is true, especially as he renounces her and returns to live with his wife. But of the two love affairs, which Is tho worse? Tho moment you have tho woman mar ried your nudlence thinks, "Oh. well, she QUESTIONS AND ANSWERS C. C. C. Put your name and address In tho upper left-hand corner of your first pngo and tho tltlo ot your script should be at the top right-hand corner of every page. If tho pages become separ ated when tho editor Is reading them he has no trouble, then, In putting tho script together ngaln. II. C. G. There are two ways of know ing what Is wanted by the various com panies. See their pictures nnd get a trade Journal regularly that publishes tho synop ses of nil releases. You cannot be a thorough writer unless you keep abreast of tho productions through the trade Journals. NEW FEATUIiB FILMS, STAULEy All week, "Silks and Satins," with Marguerite Clark. A Fam6us Play-era-Paramount five-part feature recount Ing how a modern young lady escapes from an undesirable marriage through ft ruse of the good old eighteenth century, PALACE All week, "La .Boheme," With Alice Brady. A BrndyWorld production featuring tha manager's accomplished young daughter ns Mltnl in an elaborate screening of tho familiar and over pop ular opera by Puclnl. Monday, Tuesday nnd Wednesday, In nddltlon, "The Fire man,'' with Charlie Chaplin, a new Mutual, and Bllllo Burke's serial, "Gloria's Ilomanee." AtlCADtA All week, "rteggte Mixes In," with Douglas Fairbanks. A Fine Arts Triangle film ifenturlng the p6pu1ar Doug" as an athletic young society man who tries n bit of slum life. VICTORIA Monday, Tuesday nnd Wednes day, "Tho Fireman," with Charlie Chap lin, a new Mutual, Monday nhd Tuesday, In nddltlon, "Susnn Ilocks tho Boat," with Dorothy aish and Owen Moore, a Fine Arts-Triangle. Wednesdny nnd Thursday, "A Child of the Pnrls Streets," with Mao Mnrsh and Itobert Harron, first showing of a new Flno Arts-Triangle. Friday nnd Snturdny,' "Dorian's Divorce," with Lionel Ilarrymoro nnd Grace Val lentlne, a Metro production. FOHItE8T"Ta Dumb Girl of Portlcl," with Anna Pavlown, tho famous dancer, with her company of Ilusslnns, augment ed by photoplnyers of tho Universal Film Manufacturing Corporation. tlELilOh'T Monday and Tuesday, "Molly Make Believe," with Marguerite Clark, Famous Players-Paramount film. Wed nesday nnd Thursday, "lings," with Mary Plckford, n Famous Players-Paramount. Friday and Saturday, "The lied WIddw." with Jack Barrymore, a Famous Players Paramount film. LOCUST "Tho Flroman," with Charlie Chaplin, his now Mutual. In addition, Monday, "Four Months," with Vivian Itlch and Alfred Vosburgh; Tuesday, "Avondale," with Iva Shcppard nnd Alex ander Gadcn; Wednesday nnd Thursday, "His Brother's Wife." wlthKthel Clayton and Cnrlylc Ulackwell; Friday, "Tho Scarlet Woman," with Olga Petrova, and Saturday, "Tho Accusing Voice," with Harry T. Morcy and Bella Bruce. VAUDEVILLE. KEITH'S Belle Story, tho young American prima donna; Jack Wilson, assisted by Frank Hurst and Lillian Boardman, In "An Impromptu Itovue"; Sixteen Navas sar Girls, In a musical offering; Bayonne, Whipple nnd Walter Huston, In "Spooks"; Nelson AVnrlng, entertnlner; "What Hap pened to Iluth," a satire In one act; Max Ford and Hetty Urrhn, In songs and dances; Sam Barton, tho silent tramp comedian, and Sellg-Trlbuno Pictures. GLOliV. Dave Sablosky's musical comedy, "A Night In India," with Bobby Vail and Mario Mann ; Frank Bush, monologlst Conrad and Daniels In a musical novelty; tho Colonial Montroso Troupe, and B, Pntton nnd company In "Applo Blossom Time"; the Skntells, Lambert and Fred ericks; Putnnm and Lewis, character comedians; Baby Blvla, Juvenile, and Kanawanza, Oriental gymnast. GRAND "All Philadelphia Week." Emily Smiley and George Barbler, In "Man's Law"; Josle Flynn and her Minstrel Las sies; Kirby and Borne, soft-shoe dancers; Bob Warren; the Three O'Neill Sisters, singers and dancers; tho Human Kanga roo, Mr. MacAIeavcy nnd tho Pathe News. CROSS KEYS First half of week: Tom Powell and his Peerless .Minstrels; the Comedy Harmony Quintette; Marlamba's Mnnlacs; Friend nnd Downing, nnd Mondo nnd Selle. Thursday, Friday and Satur day ; "Satan's Cabaret" ; Morgan, Dixon nnd Schrndcr, In "Bllnky Wlnky China town"; Heen, Buhl & Co., "The! Yellow Peril" ; Don Fiattl and McGarton and De-Wolf. Prominent Photoplay Presentations jom Bodm Grnpomu rpiIE following- theatre obtain their picture thrnuth the STANr.KY llooklne J. Comnaiur. AH picture, .....,-,. I .. vi..nlM nr mrly iilinu nr , !.. n . , ., umpnj, ""?" "".--"-r.iKlHVn. AlL. VX. ..?-".V",.0","'',rou '"'"" ?ture through the 8TAM.BV IIOOKIIVO COMI'AM'. ubtalnlne pictures ' 12th, Morrlt & rJrunlt'vJ! Mat. Dally at 2: Uvg.. ? B i'aramount Pictures Olga Petrova ln '""hcap-let woman" ALHAMBRA ARCADIA BCSKlSn Willie Collier, Jr., and Anna Lehr la "TUB HUULB CALL" APOLLO "D AND T,SnNn imilt Douglas Fairbanks '" ""SSSSfv "Tiin MAIlDLi: lllJAUT" KeyBtone Comedy. LIBERTY naoAD and -" iv COLUMBIA JACKIE SAUNDERS in . "THE FL1RT1NO PIUPC" LOGAN THEATRE 810 &0AD MARIE DORO in 'THE HEAItT OF NORA FLYN.N" rI-I nAjiTVI'T'WD ABOVE MARKET BELMOIN 1 Mat.. 1:30 6 aiao. loo. Kvs :-'io. s. 0:30, 15c Mary Pickford ,n "S-'ehnal chund- ffiiftv CEDAR "?f,S!ri CtDA FLORENCE REED in "A WOMAN'S LAW" Prominent Photoplay Presentations WKbT riULADKLPUIA AS FOR DECQBATlOtfS KClwkKj6Js in "Silks SfJ ai1' f new Famous lt?:??flacuot jum which Shakespeare's plays fall into two distinct groups; those written by Shakespeare and those acfed by Robert Mantell. George Jean Nathan, m Puck. IWdancingM CHAS. J. COLL 38T1I AN MARKET STREETS Dances Monday and Saturday CLASS TUESDAY and FRIDAY Pink Dance Monday Night MTSU? New Drawing Rooms 2S WST EXHIBITION DANCE WED. EVO . Danclos Till IS. MyelV Orchestra. NOW VOR YOUB YAUATlua IS l'UKl'AUK HU11MK11 S Individual Prlvata Lciuni. ....JHK ruulISSO. HlJIOOL., 130 t'hlnut St. ,1'bono Lot. 3102 Atlantic city Ur&ncD. U33 .Hoard walk (oppoalw Stwl tltr). Ull Fnuu BOSH. Doth chol' own day and avtnlns under uirvUlon Ot Mti. CurU'tu. NIXON THEATRE UUlLUlCtU LOESER'S CLASS TUESDAY and FRIDAY ORCHEVritA 1W Stick Cak Walks8f!Sf CQUP6B tt ?JUVAT LESSON. $i Rwptiou Medy Sunday I School Will Remain Open Until Juna 29 ST Wagner Dancing tl I'rlvnte Lcaaona 5 After li Noon Scholars $ Every L&2"& da Military Dance & Somtnlra Nr.vfVVt.fi Fvfr June H, DoraUr."eXl weQ' 'B'l S:30-1S pin. . Uaual Djnca Saturday Ktenloc THE C. ELWOOD CARPENTER STUDIO OK DANCINq 1123 CHESTNUT STREET U23 Open day and evening all aummtr Private and Individual Instruction In all the latest dancee. Telephone. Filbert 4S0T Colonial Dance Castle - 5524-30 Germantown Ave. Open All Bummer- -Large. (ol. Comfortaole. rull Intortoatloc -Oermantown 43TO. BRASSLER'S Danc'g ACADEMY Usl removed to V43 N (1th Prlvata leuen Un alt euunirr Ep?,( danclps ta 10 (a jone Market 1ST J THE CLAYTON CASINO WOOPSIbkt PARK OVERBROOK MD "W JOHN BARRYMORE in "THE LOST BRIDEGROOM" BOTH AND BALTIMORE AVE. BALTIMORE JANE; GRAY in "THE WAIFS" Fatty Arbuckle ' HIS WUTS MISTAKE" FAIRMOUNT 2HT" a0n,?,ard avb. IIOUART IIOSWORTII ami Dorothy DR. NEIGHBOR" DAVENPORT In FRANKFORD " FnANKTvnBDNuE BLANCHE SWEET in "THE SOWERS" I OPT IQT 62D AND LOCUST LWVUJ 1 Mate. 1:30 3:30. Utgl., 1)130, 8, 0:30. Marguerite Snow '"o'n".1?. 10c. 15o. ORL'AT TRIUMPH" Market St. Theatre 3M rt Aaitd Attraction Chae, Chaplin In "Police." ORPHEUM aaauSSSvtM Dorothy Gih & Owen Moore in "SUSAN ROCKS THE BOAT" PAT APF Uli MARKET STREET ric 10 a. m, m mis p . Geraldine Farrar & Wallace Reid In "MARIA ROSA" 56TH ST. Theatre UATAf Bel Spruce. Evite T to 11 Pauline Frederick siomentT'etore- GERMANTOWN D508 Sve. PARAMOUNT DUST1N FARNUM "Sck- ,- nUC 10TH MARKET S:13-T-9 LlLUDl ,innn KIMBALL OROAN LILLIAN GISH in SOLD FOR MARRIAGE" pininn AVENUE THEATRE LlKA.lI- 7TH AND OIRARD AVENUE Norma Talmadge ,n "T,ln'Tch,.,lr0'un.... "LION AND THE amL" Comedy. EUREKA imt MARKBT STa TYRONE POWER in THOU SHALT NOT COVET" CHARLES CHAPLIN IN "CARMEN" r ADnrM MD LANSDOWNE AVB. IjAKUC.11 MAT. t. Eva. 0:3C GAIL KANE in "HER GREAT MATCH" NURTU Broad Street Casino DROAE,B?ILOW MAT 2:30 EVO 6:5. SIB. 0:30. Grace Darmond "A ""gRf ft xV. MATIH" i no mvfi viwtw ' KEYSTOiNE m Sft8?AV.v VAUDEVILLE and "IRON CLAW Pictures J Great NorThernTwNEs WM. S. HART in THE PRIMAL LURE" IRIS THEATRE suo Iub0 DOUGLAS FAIRBANKS in THE OOOD BADMAN" JEFFERSON m" a-?rdevp,"n' Alice Brady in 'TaiiRled Fates" DREW COMEDY KNICKERBOCKER MIS Geraldine Farrar in "Temptation" CHA8. CHAPLIN In "FOLICE" LAFAYETTE " 1iTOS BLANCHE SWEET in "THE SOWERS" I CAnPD rORTY-FIRST AND LXtt.a-EaV LANCASTER 4VKNTOS PAUUNE FREDERICK in TIE MOMENT BEK)BE" STANLEY BMi3SSHfc .-! SATS - W . .:.. ". . K8!fcftw "b8$Hw, arTVeWJMvyMJfiiMiMiuiiiUiiieiiitiiiiiiiititn;niiitwuiitij4tM PARK "'DOB AVE. & DAUPHIN ST PARAMOUNT GEORGE BEBAN in "An Alien" PRINCESS m!t WORLD riLM CORP Preeente KITTY GORDON ,n " vwixuyyti MATERNAL RWHT" RTAT TO OERMANTOWN AVE. . . M AT TULPEHOOKEN ST. MARGUERITE CLARK in "OUT OP THE DRIFTS" REGFNT ,eS, MAKKT STREET Carlyle Blackwoll & Ethel Clayton In "HIS BROTHER'S WIFE" R 11RY market street IV. KJ XJ I BELOW 7TH STREET Edmund Rroptn ,n "T,,B SPELL Lumuna creese OP THE VUK0N., CHAS. CHAPLIN In "POLICE SHERWOOD "!&&, HAZEL DAWN in THE SALESLADY" SAVOY "VteSt METRO Pruenta MAnaUERITB SNOW and WM NIOH la NOTORIOUS QALLAUHER" , , TIOGA "TU AND VENANo ST Marguerite Clark lu&believb" And "TUB CHOUALCEW (CelfetUl JkLiS il m ' m ( -S5J VICTORIA MW OLGA PETROVA in THE SCARU5T WOMAN1
Significant historical Pennsylvania newspapers