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EVENTKG5 msrraER-PraLABEEPnTxV, BATT DAY, JAlSnTABY 20, 1917
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NEXT WEEK : LITTLE, 'MISALLIANCE'; BROAD, GEORGE ARLISS; FORREST, R A YMOND .HITCHCOCK?
t " ' - ' r 1 j '
SAcute Mr. Arliss Dissects
WHEN THE STARS WERE YOUNG
Ckrist and Napoleon May
The Mechanics of Acting
M
&" W"Bi gs
n illH s $m.
I
fnc Eminent Star of Barrio's "The Professor's Love
Story Discusses Mannerisms and the
Player of "Type" Roles Today
By GEORGE
ITU follomntj mmlil, quoted u
irf el the actor's art is from ' Pism
i Acting," edited by Prof Itrandcr
attheici, ot Columbia VniicriUu
THE art of acting li ro Intimately con
nected wIUi what is known ni "porson-
HtY tnflt V 1H il'1 wlllu,N'' ,....
Koerlmcnt to attempt to cot down In vvrlt
Uw uif assertion of what methods should
k. sdooted In the miking of a good actor
ina what should 1)0 f olded as iv prevcntlvo
Bueuro against becoming n. bad one
TBefO aro tlCtora WHO Know eicrv muvn
.t- i....,i uiinnn terhnlnuo Is bevond
fieroacli. who iro endowed with thoso nd
I 'i., nf olco nnd ntipenranco generally
fcrarned as being ' exietly suited to tho
&:. nnd who aro jet ery had nctorn
lodtcJ And thero nrn others who nro piln
folly devoid of nnv vl'blo fllnos3 for their
WllnS who deft or rather Mil to obrervo
Salmon cveiv ltnown canon of slago torh-
&itau nnd who vet siicroecl In giving tlio
rreatest delight to their audience The
ttitfor of ths VP 1" n" a r"10- Phys eally
rtnd montillv incapable of adopting the
Sjcknowledged mPthods, he geln across tho
footlights" without any leal LmiwlcilRS of
tMw It's dono -b wavs that baffle even
f tie eipert ho la carried to success almost I
Lnllrcly hv wh.it for tlio moment I will-
call his peronnlitv, no manufactures hlit
nwthods from miterlil close at hand and
icldoni borr s or protlts by tho e-.perlcni'o
Sot others sui h an exponent of tho art Is
generally fcpokrn of by his professional
Bill, the Bard,
ovies, Reels and Stills
PIU:DEMCK WARDE, thu
Tlianhouser star, who 13 seen
m "Kinjj Lc.tr," a Shakespearean
rpoctaclc, relrasetl through
1'athe, ha1? discovered that tho
Swan of Avon Knew n lot about
tho movia busincsa.
Shakespeare, Mr. Warde says,
wroto learnedly of five-reel fea
tures, of movio stars nnd their
directors, of press agents, of
"stills." Some of Bill's remarks
and tho celluloid themes to
which ho refers follow:
Vontiirn Productions:
txtra Girls
"Forgive the comment that my passion made upon thy feature."
John," act 2, sceno 1.
"Doth my simple feature content you?" "As You Like It," act 3, sccno 3.
Extra Girls:
"How wise, how young, how rarely featured." "Much Ado About
Nothing," act 3, sccno 1.
Publicity Man:
"Ho cares not what ho puts into tho press." "Men y "Wives of Windsor,"
act 2, scone-J.
The Cry of tho Fan:
"Increase tho reels!" "Antony and Cleopatra," act 2, sceno 7.
A Moung Picture Patron: ,
"A broad and powerful fan." "Troilus and Crcssida," act 1, scone 3.
Directors:
"My loid, it were not register'd." "Richard III," act 3, sccno 1.
"Direct mine arms I may embrace his neck." "Henry VI," act 2, scene C.
Othello, in act 1, sceno 3, describes a motion picture:
"Moving accidents by flood and field, of hair-breadth 'scapes."
Hamlet, in act 3, scene -i, says, i
Tho Stais:
"My homely stars havo f.ul
eil. "All's Well That Ends
Well," act 2, sceno 5.
"My stars be prnised!"
"Twelfth Night," act 2, scono 3.
"Dost thou love pictures?"
"The Taming of the Shrew," ind ,
scene 2.
Stills:
"Keep jour still." "Pel icles,"
act 1.
"He loves mo still." "A Mid
summer Night's Dream," act 1,
scene 1.
t i iml Power
ful 1 1111
brethren as a very bad actor, but tho
ipeople like h m '
. Hut is he a bad notor 'merely because he
adopts his own methods and knows nothing
about the art of other people? Well, I
think-perhaps ho Is Although ho amuses
rae, 1 in airatu lie is n nau ncwr hui no
ri not as had a3 ho -would bo If that other
type, which really knows tho rules, took
llm la hand and tried to make him u Rood
actor Then ho would be atrocious As a
matter of fact, ho Is an actor who can play
only one kind of a pait But he play3 that
ketter than any good actor living
t inereroro the public, for whom the the
atre Is run, gets tho advantage His reign
laU Just as long as there aro plays which
THE PROFESSOR RETURNS
This time it is George Arliss, in
stead of E. S. WUlatd, who brings
"The Professor's Love Story" to the
Broad Street Theatre.
ARLISS
require that tvpe tf his part Is n prom
inent ono and he makes a ery great suc
cess, so much the worse for him He Is
thou placed In on exalted position, from
which h Is bound to fall when tho authors
hao worn themselves out III their franlla
endeavor to hold him there, nnd ho will
automatically piss from the public Ken,
destined merclv to bob up now and then In
ft small pirt that lends Itself to his 'per
tonality' nnd destined to become a disap
pointed man for the rest of his life
This ortor would never know such bitter
disappointment If we could have tho Ideal
condition of Btock and ropcrtorv compinlcs;
ho would then llnd his proper place
which would possibly be tint of a vatuiblo
'small pirt ' actor for certain "bits" 1'n
der present conditions ho goes along possi
bly for Mvo or six mrs. In a falso position
j. bad neloi dlguleed by a mero llulco
as a good one In lealllv Tils success Is
inrolv an ndventute tint ho doesn't ltnow
tint How should he" Ho Is In tho position
of ChrltAoplirr bit lts.Hc.rcd and deceived
Hut, unllko lv ho Is never again ubl to
renllso that he In not really a king de
thi nned bv a llrkle and Ignorant peoplo .
and his llfo Is soured for all tlmo Tho
nieio thratrfgoers innv very nnturallv ai
gua that as the theatre Is run for their
amusement and ns thoy piy for Itj sup
port, they would much prefer to have tho
'tpcs selected for each ptnv Thus they
aro nulto content to hao tho had actor In
the ono pirt In which ho Bhlnes, and to
allow him to go Into oblivion ns soon ns
Writes of
"Mlm iho l'lnco '
"King
11m me piucc.-.
My Homely Sura
Ilavo tailcil '
posslhlo afterward There would be some
thing In this argument If the success of
pl.iyn generally depended mainly on tho
proper selection of tjpes Hut I am con
vinced that the succeba of a seasons plija,
ro fur as theli succe-ij shill be mwijimI by
tho acting depends iipon.the gieitest num.
her nf lutoia and actresses who know their
business
1 us"d tho word "personality" because
It Is dllllciilt to llnd another word to ex
press the different degrceH of thit mueh
dlscu?sed nttrihuta of the actor who Is
remembered The personality of the bid
actor I have been considering should have
a name of Its own, It is In reality more
of the nature of a deformity U Is gen
erally Ulto distinct from tha personality
that helps an actor along to a distinguished
position which ho is then able to hold.
And, after all, what Is this personality that
actors are sometimes asked to stlilo and
nt other times counseled to cultivate
Surely It Is the man himself as he has
grown up In his own particular environ
ment. Whether he gets the something
that we like about him from Ins father
or his mother, or his grandfathei doesn t
matter But he certainl) hasn't pliLed it
there himself and he just as certainl can
not remove It It Is Inextricably .1 pirt of
the Individual It is as the egg vvhh.h is
added to enrich the salad' in the making
It Is part of him as he speaks and lives
and has his being It Is that which has
made us notice him on the stage He dldn t
put It there In order to bo noticed ho
didn't even know he had It till wo told
him so If personality were merely a
particular movement of the eyelid peculiar
to the Individual, or if it were only the
repetition of some unnecessary gesture. It
might with some effort be eliminated But
It Is so much more, I do not think it fair
to an actor to say that ha fits a part to
his personality " In studying a part, should
he meet with a scene in which he feels he
ehquld strike a certain note that he realizes
he Is physically incapable of reaching, if
he then adopt? another method which will
bring the sceno within his range this not
pandering to his personality. It is merely
using legitimately the tools of his trade
Your voice is part of jojir personality and
so Is jour nose, and so are yodr eyes and
jour mouth, so the way you open your
mouth and your eyes, and the way you
close them again, and tho way your head
Is put on your shoulders, and the way
you move those shoulders to which jour
head Is loosely attached
Praise From Griffith
"fpHE Eveninu Ledger was the
i-first newspaper in this country
to treat motion pictures with ar
tistic respect and intelligence."
David W. Griffith.
& f
Wm .Sm'mL !KSm"Bwl
grncft il"fn 1 us
"Wry Rood, William,' was tho fmoritc phrase of Master HrntMt Tiucx in tho Rood old day of 18 when ho
still placed Shakespeare nnd tho musical comedy depths were et unplumbed. The comedian of tho amusing
little piece nt the Adelphi has a different motto nowadays.
(Noli, to tendril Th ulnrv of "I'enrl of the
Afmv" will be Blven In nrennrtn form In th"
newnpiwr pvrry vek A hw cnuri will !e
Inililuln-J mi h S-Uimlny Heart tho dory hr
thi-n hoi huw tha director hm earrl'd out Urn
InatrurUnti nml ilovolnpoil lh motion I'lrturn
ilrnmn from the oremrlu nt the moilon pltturo
hnua slitmlns ' Pinrl o the Army")
CAST
T. O. Adnmi .,
ivnrl inr .
Coloiirl litr .
Mnjor llrent
llmtin, Uona .
rni.o . .
, Itnlr-h KMIanl
. lvarl White
, V. T. On rletoli
Theotore Trlfbui
Mnrle Wnrn-i
. .T. Tanmnioto
Th Sllpnt Urnaia
i" cMifm -vipnma ... , " ,..
Mrtcitlii'S Ku-Jti butler, servants, wl't, eie.
i u
r.MlT I
Kubtllli-ir-ivlni: recover I lh rntinl deffna
plnnt nn.l leturned to W'nuhlnnion colonel
liirp contrs vvlili tho Secretary ot War ami
the He icrnl si in-
"-e.no 1 (fVrtrr nf Wnr rrlvito offle"
n n-r vroiiu-i mlsulei) Oiin on fnreerounii
if lur hi m inn and Mineral hluff confjrrlnir.
Subline i olnii I Hires onlirlv, r u
Mntni n il i tili-phutm incmiaiio from ins
superior.
.e.111 1 2 (I .1 r In n-r how )t Open on
foreKriinil if "inn nualllnu telephone mil
I noln out if firi-.!rounil "how formrouml nr
l'r-url nt olhei mil of room IIvIiib lloer alio
ix ti Ail imi illHi um llnvver " i floor I'kka It
ui u-ini'-i ut II thiuitn It Into Ult coil
ii-i-nn 3 -iHluily In Dim home ) Show 1'iarl
untibliit; thri tmli lorlUrtrt
ono I -il Ibnrv ns per 2) Ai!innt In
r n in Hiiiit is 1 honi. rlnff Ansivtrs. C alii
linrl I'mrl tots to phono
NATURE VERY HARD
ON PHOTOPLAYERS,
SAYS PETERS
"Of course. It li nice ot tho weather m.in
to furnish rain storms whenever motion
Iiletures vv-uit them, but I wish ho would
nlso furnish n nice vvnrni breeze," HiiRheil
House Peters tho Mornsoo -star vvhu. with
liirtlo .Steilinan. will bo feen ut the Stan
ley tho first half nf next week In thu Oliver
Moroco iilcturlatlou of Albert I'avson
Terhuno't story, 'Tho Happiness ot Three
Women "
'Tim placo whero wo went to Ret those
scenes Is miles nvvay from anjwhere, nml
ns ou know I Iml to git out nt tho car
and inn around In tho downpour 1 only
hnd on n llRht summer suit, and promptly
was drenched to the bklu Oomlnir link
I had to drlvu about flfleen miles nt 3
o'clock In tlio morning I was so liIoomliiR
cohl that I coiilil Inrdly hold tho steering
wheel In addition to tills, I tried '- Keep
mi a cheerful conversation with Mls-i fctcd
inin and tho other niemhets of tho compinv
with my teeth cliatterlnB and it sounded
llko a stuttering 1'lute trvlnt; to situ; 'Tho
Itosars or BomethinR niu.ill) as terrible
You teally would h.ivo thouBlit tho rain
Htorm was nude to older I wns c unfnrt
nbly ensconeed In mv 'ilonnj' when about
II ti clock tho phono rntiB nml tho director
Informed mo tint It was raining nnd wo
would havo to take tho scenes, so I rr.iwled
out of my little bed, pot the ar nnd drove
to tho location whero tho others were vvalt-
liu? .
"If vou think anybody connected with
tho photodrnmi has a llfo of easo vou
would havo been disillusioned right then
and there Imagine gettlns up In tho mlddlo
nf tho night, going out and taking nomo
pictures nnd then driving fifteen miles In
thu Icy blasts will) your clothing sopping
wet "
A charming oung Indy In an evening
gown caino toward us and was presented as
fllss Steilinan "1 didn't mind tho lain
storm so much.' sho said bf cause I was
quite comfy In tlio lar u- murse getting
up In tho middle of tlm night llko a lire
man, to answer n call to take somo bcenes,
is not pleasant, but I did not mind that as
much as I did the unoxiiectiil holt of light
ning Mr I'eters nnd I wcro driving along
nnd he had lust n marked tint tho bolt of
lightning vvas about duo, when suddenly
there was a blinding Hash out of tin) sky
nnd a shower of sparks A treo fell direct-
ncross our pith and I registered fright
without a minutes rehearsal, as It vvas
completely unexpected Just ua tho director
had planned
A
m m wi zm . v i i r -inimii-TOTwiiiwwmiiTiTTiiTri f"OT,Trl,l,," "
,. .., - :;"i- "f 7x34 ?'-i , , s-i l i il iiMMW lllilll I I ' M . . :, .-.:-i,'SStSasja&i Aw .-.. , ?
1? -.....' ... y, ., ". .".i. f " 2 ' . t t mt MsLmm
Maybe you think the Fairbanks cat J3 wutching the Hart mouse with something akin to cruel glee over his at
tempts to equal The Douglas's prowess in low and lofty tumbling. As a matter of fact, W.S.Hart, ol Ince
ville was a frequent and friendly caller at the Fine Arts studio before Douglas Fairbanks left the Triangle
' and "blew" for the East to find his own place in the sun.
of Kent rV nrrturtM Mm nn V ni l ml
ppirit ' f r (. .hi at h ul
"Pearl of the Array
By GUY V. McCONNELI.
Scenario by
GEORGE BRACKETT SEITZ
Author of rho Iron flaw ' "Thu ShlilUhu
h uliiw ' etc
PRODUCED BY PATHS
EPISODE VIII
"International Diplomacy"
((opyrlRht 1EUC, lt Ouy V MrConnrll
Pfnrt r (Hrrrft(iry AtTlcc ft vr 1 Show
rori'BPountl of Imro rpinUtne nt phono
Ppokrn ttiln firing (ho wnlVrs to mo hrr
hin nu open th ifn b nuru Iho rnnm t
tlirli Ihrro nru undeveloped photogrupnlo
Pi itps tn It '
Srrns ) (t.lhrary ni pr 2 IVarl noil.
IniJKB up irrcUr-r ttUn IliM KlUt!
Hi rno T (Minlv on per T I'enrl pnlrrs tunn
nut lliihtn op. nit Hifo IMUn unfem In n.ipt
Ai nh) llaKhrt nn Itj.hti Hllcnt Mprntto nnitlfxt
In itt.n RiHmtltitf rlono bihlml her Up -It ninnil
wnforH Sim rrfiixiti Tho two atrimKh
H. rvatiM mnin ruihiutf In n Htlf'nt Mtniu
hurli I'tnrl from lilm nml leiip mit wlmhm
l'dirl Unmrt heraptf to lur feet TookH In hi r
hiiul DlKt,iprn tho lluur Mt-keil up nnd kept
h Adimi In pirlnii-t nmn
rt'no S (HtdKo nt f-Uo nf inro stntP Old
Ionian h ntul nn heni.h lit picture ) lit due npfti
i lino lit hint lar nnd HUpnr Maniu imi
throimh llnndi her wnferit nnd upt-nks
Spiiki n tllli"- aio thmo to tho in. miMicrr
who wtiltn for you nt our houno ' ltn k to
Pieno Hlli nt Afrimn Cues luuk Into buslus OM
uotimn risen nnd exits
Hh! tltli IVnrl n Intei to Major llretit Iho
colm Ident nt thu crumpled llnwor
Sceno it (Mhrnry nn per 2 I'enrl Is flnUh
Ini; telllni; storj llrcnt Hpeuks
Spoken title "It ! ery Biiplclmn t'otnp
ho hns nft ot o fnr that we cimot trnll
him 1Ia k to Reetio Thy exit
Sreno 10 (Mleyunv outnliM poor tenement
Ol 1 om-in of prov Ions rreno loiiipi tn fur
ground I'maet throimh pleture Adams Btepi
out of hiding nnd follows her
Seenu ll (ttoiind corner of nUeywny ) Show
fnreHround of llrent ami IVnrl Thity hiti
nipnnntl ae'n proiloua hppiio nnd nro healtnt
lm? uhpthir to follow Hhnt telH IVnrl to atnv
uhoro alio 1h Ho txlta In dlrnt-tltm tnkeii hi
Ad tin
Sreno 1J fltonm In tenement ) rorelgner nnd
old woman In picture Art inn nppear In floor
uuj Steps ati ilthlly behltid them Itataes Hat
Tiidn out ft
Subtitle KIvo rnlnutei Titer
hrpno n (llewiy ni per 11) Show
dtuphmsimd foreground nf I'earl open din
phrnctn further until Adams uenrtnt; old
woman fl ahnwl nnd Jmt tnklnK oft old umnnn m
honiift Is Hteti ctrno behind IVnrl IVnrl alar
ut him lie hmidi tin wnfem to h r Spenka
Spoken title Iteturn the in tn our father
Tf 1 never r turn hunt for m hm In tho
bant tn nt of tlio hemltul ltiiltdltm ' llai.li to
Httnt, hu bow a and txita IVarl nmaztd I ado
out
Subtitle Half doubting et hnlf bellevtnc
tho mmterlom P t Ad una IVnrl truata no
ono nn 1 secretly Imeatlunnn tho Cltttnl at
llqlldlnj h.rafir
Set no II (Itenr nf t'hemtenl ItuiMHur ) Show
foreground of I'tnrl In Mb lit Bin ft She care
fully breaks small pa no In window and reaches
In unfaatuiH window and ottiis it Cntera
Subtitle Some llmo later
Sceno ItV trtoom In bHinent nf hutlrtlmr )
Silent Menaco ami tho Torelsn Alllnme in hlacl;
roben holdlns meetlntr IVnrl nt other end of
room unaeen by others ruttuu htud behind boxea
and sutphta them
Heeno 1(1 (IMancewny Inaed trapdoor
Artims cornea Into paBiiiicttav Stealthily climbs
ldler und opens trapdoor u few Inches tdatena
Sceno 17 (Itoom In baaemi ni hi per lfl )
D ish of blltnt Menace und I orelun AUlanu
l-ilUlne
Scene Ifi (PnasiBewny a a per lo" Adims
holding trapdnor up lh retrfntM down lad ler
Ah ho pots to Irottorn tht foreigner, who wan
6ft n lti the ol I womin a cottaae comes runnhiK
In aelzea Adima und tho two atruesle Ah
dnrna knnrlca out the fort-Icuer bllent Menaiu
and Korelicu Alllmtf totno rtishlnc down, aelxo
Adtms and drus him upstulra Tho f ureln. r
fltaut.tr! nfter Hum,
Steno 1U iHoom tn bnaement aa per 1ft ) All
romo In with dama IVarl uatdilnc unauen.
1 on irnT epeaka
Spoken tttlf Th Iji la tho man who nttneked
mn lii tho Owl a hotihp nml took tho wnferi
from me It.uk to Hum Ibnt Muiiuih iitwa
Inatru ttuim to imp of hla nun who Im-kIii to
put alienor on rwolttr Adima la led to ono
tnd of room and thd u pnwt Show fure round
of IVnrl In hldlnv wnt'hlnK In brHnthhuv
huh pen so She h tatllv dr iwa arnall revolve i
dims tarefully and 0r llr allot atrlkta man
ho rulNi hH rovoUtr and huh about to nro
nt Adums Memtcra of AUUimo ruah tit ward
I'mrl and capturo her tfhe amitfhf i ut a
whistle and blows It I vry window in tho
room cornea amauhlntr hi and two or ihrt-o
HoldifrH appear at aame Iimr 1 urata open and
Amerh in aoldlers nppenr AhmlMra of Ionian
Alllaneo st ire wonderlnsly iht Is a pauat
Subtitle The t-Huipe Haik io atme ih tn
Iters of Altlanie let l heir hands fill from IVarl
Suddenb ut a word from Slhnt Jlenme a num
ber hurls down a smoke bomb Thu room la
'THE BOY'S ATHE-LETICj"
1 1T1 wl it n rt ru inl
filled with amnko Spies hidden In am ko An
this tmuaplrpil tho lotiir. black tonka worn
bv tho memhrfa or tlio Aliltme nro thrown Into
the. cputnr ( f tho room Show for urottml of
aerret panel In wnll rlnalnit . pool Io hi en tn
inU fureitriMind Smoko i lenfa Mi tnberi of
Ann pi i oinplpteH disappear
Scene 'JO (Outaldrt abed Mitfln dlatmie from
rheniiml IlufltlittiT IVnrl und Adima tome
out dare nl-oiit dtitn hiattlv Pi uka to two
or tnre aotdlera who nro ionium out of heutt
tl Hullrtlnrt 'ihey nil ret Into nuto und atutt
l apanh fur fuwtthefl
Sreno 21 -(Uiivmrnt ni per t ) llrent
ipenka
spoken title 'It wm very a I in pin t'nder
tho t inuka rni h wni dreaied ni mi Amerh nn
aoldlrr 1'robably aomo nrn In the room now
ltnck to aiene llrent tlvea coinmatid Ah n liho
up nnd aro limpet led
Hi i no UJ tOroai roidi Tomtlon ) Pearl,
Ad tma and atldtera tlrlvo up In i nr to fore
crmiiiit Ad una looks about Spiaka
Spfkf n tltli It li no use, wo hno 1 iat
thi ni Show foreRrottnd of Adams and other
In nr dnms tlnlabea apenkiim 'lurna to
kIvp onb rs Ut po batk Aa lu does ao tlm
aul Hi ra (who nro renlK memborn of tho
Portion Alimi an pi r Major ltrnla explnnn
tlont ban upon ttum nnd otrtomn thpiu Auto
turui and !im up at do rond
Hubtttli All hi ur luti r
Si one L't (Dpi Ic of old aehooner l Svernl
fnilan sallura In ph tun Adiitm and 1 arl
ttnuiiiNf imi nn lirousht tn b auldhra lluv
nn (ttirbd down nimpnnlon w u
Sfetio J I d'ahln lu aihnoiur) IVnrl 1m
hrt uht In Hiddltra xlt IS arl slowly wnla-t
to r ttist liiuam km !ih t Vteni 'lho Mil nt
Menmo bli ftu i maakid uitu s in lie KtaticN
om r her aardoniinlh I ado Into tho a Itntr, its
pi r pr iutn i plaodoa
YOU CAN'T BEAT
THE TATTOOED
LADY!
All jounc nml romanlle clrli shoulil rend
lho stiI Rtorv of Mlsa hy Sijor nml (nl(o
uarnlnc Miss Kiwjcr N n piollv lilt to
KngllHh Rlrl u!u
pl.ija Ilia title nib
In lUsiilonil Hilili
rocU'a now music 1 1
111 -. "llcttj ' wlihli
oiicns nt lho Torn si
Tlientio M o n il i
oenln(; A cir urii
Mlsi Snwyor. while
p I a y i n s nt tlio
I'rlni o of Wales
Thcntre I.oniloli, Up
cmno onffiiEeil tn
Lieutenant I'orll
fitew.irt. of the llrlt
lnh nrmy On lli
u.iy to tho trnncport
wlilch m to cnrr
Lieutenant Slew ait
lu I'runto that ofllicr suggeHtdl tn MIks
h'aer that they linve tlielr phutn
Kr.iph taken together, ha a pumf
maile for each tanil then lmo tho plite
ileitroyeil.
11IH3 Sawyer, howoter, was then only
Kcvcnleen. anil an Khu Is 'nlllinu to ndmlt
now, iimluly romantic, Bho dei-lnieil that
sho had nu pen better Idea She told her
ll.uico thit hi' thought II unulil bo uplon
illil if she rould li.no Ida likeness tattooed
on her Nlioiilder Tlm lieutenant llmillv
ii-lileil to ?1Ihh K.iwypr't) entieutloM the
norl; as donn liy Asche, thu most famous
artist in his lino In London
Now lomcu tho sad part of tho story
Lieutenant Stewart greatly distinguished
him ii If at tho front nnd, nfter losing nn
arm, letuineU to London, whero ho was
Rien a berth In tho War Olllce, Alas ' both
ho anil Miss Knutr found that thuir fiel
incs had challKed mid they leguriUd :iull
other only ns friends Their engagement
nan brolten by mutual content.
Miss S.ujer Is now In tha cmbarrasbing
position of being obbgnd to carry on her
shoulder for llfo I'm Image pf a man for
whom she no lungei cures Sho has tried
arioUH remedies without null. hut lbs
unfortunate ph'ure romalnu painfully dis
tinct, U'hilo in rhlladciphlii cho hopes that
soma deniiatoliii.st will be ublo to coma to
her rescue.
.W v ,. W
. '
Be Griffith's Next Theme
Director Admits He is Fascinated With the Idea of
Putting the Man of Sorrows and the -Little
Corporal in Sun Play
TIIK siiunt figure of Napoleon Bonnpixrta
Is a torch which tho fingers of ninny
pmplipiB Itch to grn't) Dernard Shaw hns
undo it one-act comedy out of "Tho Ltttlo
i nrporn! " Sardou has treated him rnolo
itiiimttleally N'onrly everjbody of tho the
itro Ins phutd with tho lire ot tho Cor
sli ins personally, from Ahno Held to Pas
iiunlo Amnio Hut llonnparto has yd to
enter tho photoplay (well, nioUes, t you
prefer), nt least In tho Imposing manner duo
h!m
Now, don't hit surprised If roitio diy this
erv N'npolcnn steps out nn the ucreen, pro
pelled by tlio Invisible, nenotis, compelling
lingers of n Renins Tor Dnili! Wnrd tlrlf
Mth ndmltfl that lho Idpii of a ' sun play"
hunt around tho hero (or lltnln) of St
lllln fnsilnntcs Iilrn Mr flrllllth did not
promise the writer that ho attunlly would
stngo n phntodrnint of this port Hut ho
milted for a considerable unnco of tlmo In
tho congested rlatnnr of his temporary olllco
nt the Chestnut Street dper.t llouso about
N'npoletiii and celluloid Also ho tourhed
on Intoleranro with n smtli I; gie mo n
mniioKi-nph on tho birth of ol lltzttlnti ;
mnilo a few erbil jotllngn on thn age-long
worship of the mother spirit Untied about
poetn. about music No doubt ho would
Imp re.iphpd ships mid selling wat It tho
clock s hnnds hniln t called him away Tor.
though he Ins been theoretically "resting'
slnie Intolerance ' was tompletcd, ho Is
still on the litcrnl Juinii 'Vet ho has lime to
Inllt to any ono nn any suhjeit under the
sun. tint sun which gles him his lUcll
hood nml us his art product
Wo begin with a discussion of thnt most
famous (or Infamous If mnp ..v. a n
moptlc) of his dlscovetles, tho cul-liaik
Tho dcvlco whereby the director originally
btars m Their Courses
That Fight for 'Art
THE yellowness of Oolong tea is an important matter to Mr.
Leo Ditrichstein. So is the process of stripping naked the
actor's soul by which, he believes, great art is born, lie dem
onstrated both the other day at luncheon, in between reminiscences
of the score of Continental comedies which he has given the
American stage. But the emphasis lay with that deep sincerity
of self-revelation which he feels always stamps the outstanding
actor and which he has tried to make the essence of his own work.
Monday comes a man whose art seems the very opposite.
George Arliss never strips bare. Instead, he adds, he enriches,
he disguises. Bizarre bits of costume, grease paint, wigs, all used
with infinite subtlety, all building up a structure of the finest
artifice.
An Arliss character is all sophistication. A Ditrichstein
is to tho last degree naive. Both arise from the outer and the
inner nature of the two men. Reached by different routes, both
are works of art.
To some people it seems a sort of miracle that these two mqn
are stars and very prominent stars. Their work does not touch
our popular conception of success. They have no ilavor of youth.
They are not pretty. Bea"uty they have of another sort, but the
popular conception of a star is a lovely and lovable lady or a
igorous, handsome young buck young though he be forty-five.
Of course, our masculine stars seldom do run to this type. We
have created it mentally, perhaps, to match the doll-stars on the
distaff side, perhaps to flagellate withal our weak artistic fles'h, per
haps to discredit the feminist argument that our age wants women
jto please it and men to hearten, exalt and enlighten.
Anyway, it is a great satisfaction to have two players like
Ditrichstein and Arliss in town together. It makes us recognize
that the bigger and deeper things of life the experiences that
leave lines on the face and a light in the soul are the things that
test the artist. They give him matter to express and means to
'express it. In the last analysis we recognize in such a face as
Ditrichstein's or Arliss's the record of a full life aijd a complete
understanding. K. M.
Laiiied on two or three pieces of simul
taneous action Intei woven has, as most
peoplo know, bem ilt eloped to a radical
nd In Intolerance " In that motion pic
ture spectacle there an four currents of
mm ills continuous blended, dealing with
fi ui periods of world hlstorv and coming to
four cllmaxeB at the sumo lime ' Will you
experiment further with the tut-back 01
has It served its purpose. Ilnully In 'In
tolerance"" tho producer was asked ' H
no means," he lejoined "Perhaps wo will
be ft bit more conservative in uur use of
it In tho future I don't foreM-o any moio
four-story pictures for a long time at least
Llut 1 shun t ubundon It It Is too valuable
a dianmtk' expedient 1 ru'her think two
stories, of different peilouv interwoven
would bo about Ideal - ilnl; of the his
toric value It lias In contrasting not onl
epoehs of different color, but persons, per
bonallties Take Napoleon; visualize the
oonnueroi nt tho summit of his glory Sec
In tho mind of jour cjo his irlumplilng
armies ut grip with foes that must soon
know death of tho terrors of devastating
battle, uf the liorrors of that death not
MANY THINGS COUNT
ON THE SCREEN
By MRS. VERNON CASTLE
Star of i'airta nt Keith a
Mativ people imagine that all ono .has
to do to gain fame as a screen artist is to bo
liossesbed of a certain amount of gnue and
personal charm and exhibit them before the
camerar That Is a great mistake
Acting In the movies Is as distinct an
art and requires as much study and per
heverauco as It does to become a great
dancer or a great actor In the spoken
drama I have devuteit as much attention
to learning the details of acting for the
tcrecn us I did to learn dancing
Any girl who desires to mike motlori
plcture acting her profession will find
horseback ruling swimming, gomng, inocor
ing canoeing ami even aviation most valu
able assets V
1 was little more than a girt when I
took up dancing lu earnest, and I danced
from that time until my husband decided
to answer the call of his country (for. ou
know Mr Castle Is an KnglUhman) and
joined tho British aviators
bince 1 have been tn motion-picture work
I have virtually given up all thought of
dancing except as It may be required for
the screen When I refer to motion-picture
work. Ut it be understood that It U work,
and sometimes hard, exacting work llut
1 love it and am becoming more -fond of
it every day Acting on the stage has Us
charms and pleasures, but It also has Its
disadvantages, such as long rehearsals ami
late hours The great boon ot motion-picture
work Is that one Is out of doors most
of the time, can keep reasonable hours
and banish all thoughts of the agonizing
rehearsals.
forgetting their pictorial side, mind yoal
Then shift your lslon to Christ, Ills llfo,
his ambitions, so different from thoso of
tho Corporal Don't jou think the com
bination would bo a drama of big propor
tions?" Tho Interviewer suggested that Mr. Grif
fith's absorption In tho llfo of tho Saviour
amounted to nn nrtlstlo passion. "Well,
why not?' was his reply. "After all, he
wnn Tho Mnn of all men from which our
modern ethics, our finest flower of civiliza
tion, havo sprung It's not n, question of
personal religiosity, Ono Just mturolly puts
Jesus into ono's photoplojs becauso he
belongs thero" (l'hotoplaj goers will re
cill Mr Orimih's roeront and human treat
ment of tho Man of Sorrows In "Home,
Sweet Homo," "Avenging Consclcnco" ond
"Tho Hscape ') "Hut returning to tho ques
tion of tho cut-back, I feel entitled to Its
use, nt least ns much nn writers of fiction.
Iilckens did not despiso a similar expedient.
Ictor Hugo nllernitcs situations In his
poetry; remember his method In freatlmr
Napoleon And In photoplay It Is much th
saint ,
"I hno said that tho Christ-spirit enters
nlmost without tho nrtistn Itnowlcdro Into
tho art of the sther sheet and the lens In
'IntolLrancn' tho presence of lilm was a
erjlng need to counterhilnnco dramatically
tho ecstatic errors ot twentieth century re
form Tho nau of paternalism which T
hao tried to depict fairly nnd truly In this
plrturo Is not overdrawn, I really assure
iu Actuilly tho current efforts to gog
pcisonal liberty In this country nro unbe
lievable It Is not thnt I nm nn ndocnte
of tlilitpr I hao noor been drunk In my
life I greatly prefer a glass of milk or
i renin to all the ijo that over wns dis
tilled Hut with tho clamp olllxcd to the
right to drink, marplots would next prohibit
clgarctto smoking Heaven only knows
what they would turn to next! The eating
of cereals. I suppose Ono can Imagine the
lover of grain stealing nn.iv to his lonely
cellar to consume his concealed bowl of
desiccated bran as ho keeps one eje on the
window "
'Has 'Intolerance' given jou tho Impulse
to produce nuotlicr historical work" "Yes,
und no It was a. mad whm on my part
to do that picture I am not putting forward
'preys drip' when I tell ou that wo spent
a fortune on It. What mada me do it. then?
I.ovo of history of the oldest history oC
all I believe tho theory of the tlrst cul
tural aitivliy nn the Island of Minos has
bien uprooted by recent llabyloulau finds
Tho link between Babylonia and today Is
distinct if in uoth'ng else. In tho worship.
Some of tlio hvmns to Ishtar could he sung
In our churches. The spirit of adoration o
the nil-potent lovo which she embodies 14
not unlike Christianity ' Perhaps, ns he
hns hinted, however the next Urililth theme
will be the Corslcnn und the scene X'ar's,
the Alps 1 lb. i one can look forward to
It with rare pleasure whether It comes to
pass or not II D. '
A DASH OP SCOTCH
Raymond Hitchcock, back from
London, mixes a little alien liquor
in the cup of his comedy. He comes
to the Forrest Monday in "Betty."
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