,
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