f (. EVENING riEDOfeRPHflL'ADEiiHIA; SATURDAY; FEBRUARY 3117 fit V ' ,,' , 1 7 ). 1 ' - -J rtl EXT WEEK ; ANNA HELD AT LYRIC IN "FOLLOW ME"; THURSTON, THE MAGICIAN, AT WAL iittle Nipponese Knit Their Brows Over B ar Shakespeare Is Just as Much of a Burden .to the Schoolboys and Girls as to Americans. Declares Hon. Hayakawa, Actor ap frnHOUOlt n page of ny Japanese hook, Jflwlth its weird hieroglyphics, would seem ?i he far from Shakespearean In Us context Pind atmosphere, nevertheless it Is true that I'&e great dramatists wnrKS. togeiuer win ?hj.0,e of Dickens and many nf the other l"cIebrted Ilriusn ruiho. ... . .., fcv- ...... i. inmn n thev are in the United ietreiun) - fiUtf. A ... tho American schoolboy Is forced K0 read Shake-po'.re by his teacher he prob ilhlv thinks that the dramatist wrote his i.:.,. r the sole purpose of tormentlns l,r defenseless school children and keep. IRS them from having a Ko time." tie- Irlnres Vessuo Hayakawa. the noted Jnp !:,. actor, who has been appearlns In rLasky-Faramouni. p.tiuicn ... . .... ..... fewner of a Japanese stock company In tfr-silfornla. Mr. Hayakawa will be seen at i.V. of.nlev In "Hach to His Kind" next Thurwlay, Friday and Saturday. J.""- . . Iim.. tn ea. Aral -nra HiiaKavva came m ....:. .v. o.w... ..... M. u noll.knuw n. Jnimnese actress. While rwiourinV this country hd became deeply In IfHi.MSted In Ibsen and Shakespeare, and de- terminal m remum ; ; - p , Fnftish and American drama. Accordingly, hi attended ("hlcaRO I'nlveislty for moio iv. o vr during which time he trans- Biuted several of the RiiKllsh classics Into T..nw nr course, no nuu nuuirw ,-- llsfi In his schooldays and entered the unl-J Ytrslty for a special dramatic course The American t.-.iuui.jw.Y m nut iuuc DOUBLE DANCING NATURAL, AVERS ST. DENIS rtuth St Denis, the exponent of natlc .i,,. ii no lias reiurr.eu m imp huuc- t vine stage with a presentation of the dance ?raeantH 0f India, flreeco and Kgypt, con siders the dnrco craze n boon to Rood health. Miss St Denis comes 10 ienns Pjiext week, ass sted by 'fed Shawn and supported by twenty 01 mo ueiiiBnuwu Dancers. In speaMng of her art and, Its i health-producing iialltlcs. Miss St. Denis "rhn fox.trot. the one-step and all of these double dances art but a form that t . . --., 1 l. Hltll'll rt A XOlinR peopiO liaiP luunu 111 winm f" x- prs their natural love and rhythm. If tho trUtn Wrie I.W'WIl, 11 in lin imiuiui rt.n. ..r. recessarj for a healthy boy or girl to want to swim around to a quick ibrant rhythm, pometh'ng that will Rive vent and play to his or her feeling of the Joy of life and to the emotions, as It Is to eat and sleep 1 All young animals play, ana onneing snoum ('he our plav Hut climate, clothes and false I Ideas of life have hampered and hindered our natural tondoncle.1 nnu laicms. in.a last phase of danclnc Is more than a craze ; It Is a necessity and does more Rood than harm, I am convinced "Whllo In the main Its form Is ugly, and lometlmes the motlvo Is frankly. sURRCstlve, t withal It Is a settlne for expression, ifind by and by tho same spirit that anl A'mates the people to want to dance like a 1.... ...Ill nnauftn n llllVlPI fnrm. It llll tfxbj somewhat purified esthetlcally as well I if as morally. I ft "After all, tho double dance Is the nat- SVtiral and Inevitable one. 'ine uricniais. mo ftGreeks and tho modern nations of Europe, If Rmsla and Hungary all had and hae their : ' .ll. J...a ,n rr-A 'nipn nannla 11. tt limit LnHUlK umiLva unit ui umoi i"-ui" ...". Y rtralnlnff can do. Tho reasons are seeral L? . -- i . . .. ...n. A n iintlnil cl n (i na jrTny we nao nut nuiuu v imiv-"i nns.. 4 are too yountr a nation to hao pro Mtidcd any but the crudest recreations. The "w.LlMI.I. ....... n. trnt.r Telnnrl fl mlvoil population where no national danco with n.r ,.nl faallrif- pniltil VtA not. 1 thfl lflRt .jbut by fnr the strongest reason for this." In his opinion of the real purpose of the Hrltlsh authors," says Ilnjaknua. "Over In my country there are thousands of little chaps wrlRRllnR In despair oxer tho cruelty of Shakespeare and the others for exer hnlng touched pen to paper. For they, too. are studiliiR the llrltish classics. "After completing my studies at the uni versity I returned home and presented my llanlatlons of Ibsen and of 'Othello, which were ery well accepted 1 do not mean for a moment to Imply that my presenta tions of these translations had any effect upon the attitude of the educational authori ties tonard llrltish literature and drama, but It Is Intel estltiR to know that the study of many of these standard works Is, at present Included In tho curriculum In .lapH ncso schools, "Perhaps tho greatest single force which has tended to hi lug this about Is the fact that so many of my countrymen hau come to America or gone to Kngland to be edu tated The big preparatory schools, like Andoier and Kxeter, number many lojal alumni among the Japanese Yale, the big technical universities In tloston and In Tro, nnd Columbia 1'nlterslty, In New York, ate never without their tiuota of Japanese stu dents. It is only natural that thebc men with their International educations and their broad lews, should become) the leading spirits of the empire, nnd that they, nppie clatlng tho utluo of the education which they have received, have deemed It wlo to Include as much of the JIngllsh study as they could "It Is tho university of the motion plctuie which has mado It so Interesting to me In order to communicate by word of mouth with J on Americans I have had to learn jour language, but the motion picture en ables mo to establish at least an emotional communication with all the world without tho necessity of adding a single new lin Ruage to my repertory "Of couise, vie nio all more or less In terested In peace talk and In the consldeia tlon of nnv elements which may contribute to an establishment of a peace of a perma nent nature. It seems to me that the mo tion picture, by spreading the knowledge of one nation among the peoples of another, will help to link them together In a lasting fashion, "For through tho motion picture we nre (shown that all human emotions are tho same, no matter under what color of skin they may bo experienced Tho sooner we become thoroughly awako to tho fact that black man, ellow man and white man arc emotionally one, and the more wo consider fundamental rather than nonessential surface conditions, tho moro speedily wo "My work at the Lasky studio has, per haps, tended to Intensify my thoughts on this oneness of us all, because I have been playing not only Japanese roles, but Hindu, Arabian, Indian and other parts, and I could not help but realize that only a few mannerisms stand between thp real person alties of these chaiacters that each Is touched by the samo emotions which touch tho other. "I have often been asked how a Japanese can lose his national characteristics as I do In the role of the son of an Hast Indian Maharajah in 'Kadi to Ills Kind ' it Is a thing that requires a ijreat deal of thought and study, because a Japanese Is taught from childhood to show no emotion In times of stress, while tho Fast Indian Is portrajed as quite the opposite. In other wolds, I must, as an Fast Indian, forget something that has been taught from Infancy some thing that has become a pait of me, the same as my hair and my arms, the same as my manner of living and thinking. Instead tho stolid Japanese, I must bo animated. I must forget everything I have to do in the scene and still remember to fotget that I, am a Japanese." I " I Qt&i (The following futuristic Imprr j. tton of D. W. Oripth's "In tolerance." now at the Chestnut Street Opera House, ? con "sfnictcil on the same principle as the film itself. See If you can disentangle the separate stories.) When wealthy dames begin to wither, (Scene: Pari, rife with cunning bigots) The crafty priest of old BeMmgur, Their human tolerance fits hither. With scandal poured from mental spigots 'Gainst Ishtar utters many a hymn grrrl And so Miss Jenkins, with her dollars, Ruled by the Serpent of old Florence, (Likewise he hates the bold Bel shazzar), Joins a reforming band that hollers, Who holds tho Huguenots in abhor rence, And whets up bis religious razzer. A W r & For victims: one of tho Little Dear Un; Her son a child of morals weakly, Belthazzar has a favorite princess, The other it the Boy, a mere un. rj uocys nis ma, dui iar irora nicc.iy, A girl who writhes, but never winces. R Forced by a strike to hit tho city. In humbler quarters living gently, Tho Sutiana. mountain maiden, : This He and She find little pity. On Brown Eyes now we gaze intentVt With ardor for the king is' laden. Among the tenements, gang-ridden, A youth named Prosper loves her K madlv. Spurning the Rhapsode's warm en treaties. Uwewise a Friendless One. unbidden. (This tale is sure to turn out badly!) "No foppish flame," says she, "real heat isK" ine latter loves a musketeer-man, The queen, detesting free religion, V one follows, madly charioteering 1. regular slum smirk-and-leer-man. ' I roves she'a an eagle, not a pigeon, me bad high priest in his careering. Pw Dear Un fakes the gangster', iancyfc ...oiues ner cuw and' atari in .scheming y Towwt) Xyraa'a, UaMl far U tb i. . ifc v C-t,3 jtfWi fe nl t WSK. To wreck the Huguenots' fond dreaming Of conquest has no great aversion. Meanwhile the Boy is pent in prison. The bell of St. Germain gives warning, Marking the way the invading band 'lay, And all the time reform is fizzin' Her opponent s' hour has died a-borning, She flees, and tells 'Shaz how the land lay. Reformers seize the Dear'Un's baby, Enter a heartless mercenary, Too late, too late, the bacchic revel. The gangster gets the Dear Un maybe 1 Of Brown Eyes' beauty more than wary, Costs Babylon the very devil. The Friendless puts the lead into his, Pinning the girl against the arras, One grand debauch of gore ensues lhen. Chest, and the Boy must dio, one's view is. He tries her scruples to embarrass. (1 wouldn't want to fill their shoes then). Friendless confesses, train race follows; Prosper arrives too late to save her; he The. pripcess knows the raid's no joke, sir. Boy, Mrdoiwl, n this pathos wallows. AN ANIMATED AFTERNOON WITH THE LORDS OF LAUGHTER the funny walk, whose new film, fStysK-cT SV ... -. ' I (iHr . PV HuiH "Easy Street," will he shown here uKliW1-1 XWfSM A .W . ! Mfi aBHS next week, as indicated in the The- WfeE4ife4 ll I !$& 1' IMM ' j& M ?T atrical Baedeker. fWJ''-'f V "jlf JJBiJBIIwl McroNNEI.I, 'f,-- !Sa'SJalaB, K'Sw a "ite , - f 'Wt-iTT r ' S ''! - Charlie's hat on Fnirbanks's bean. '$MamlwK30Sm!t9m 'h!5 'mtk This symbolizes identity of ideals HfnFVtil - 8 - " to amuse c world. JtfflsfflHI ' "v m " Seas 'mE lttt Mil.-i--ir - c-S-SSSIs .&m 'MmSm slllBgwtes -iCiligM rW . Mm - - J!.,,. - 1 . 'Pearl of the Army' -I.'' et 'liM4 . ? iHTPtl J (1UV AV. Scenario by .i:or.(ir. iiitAriir.TT mkitz Author of "The Iron 'lai " "Tho Shlelillns Hliailow," etc. ritnii'ci:i), nv tatiik hl'IMHIK X "The Mlrnt Armj." (CopjriRht. laid, by Oui- W. McConntl! ) (Note lo reailers Tho ptory of "Pearl of th Armj" will be ulien In scenario form In thN newspaper elery week. A now mcnarlo will m Published each Saturdn. Head the story here then sco how tho director has carried out tho Instructions nnd developed tho motion-picture drama from tho scenario at the motion-picture hou&tf shotting "l'cnrl of tho Armi.") CAST T O. Adams Italph Kellant l'earl Dare Pearl VVhlto Colonel lare VV. T. t'arleton Major Print Thcodure I'rlebus Ifertn.i ttonu .Viurlo Wains Toko . ...v T. Tamamoto Th Silent Menaie () Deteitl-.VH, BUcsts, butler, servants, valet, etc. Subtitle T-earnlnir of a plan to purloin the Phtium.1 Canal defenso plins from her father's safe. Pearl liru has hurried to tho t'henilcul IlulldlnK and thero founil Mejor Hrent Sceno 1 A room 11 the (hemical llulhlinir Open dlaphniBtn on foreKround of 1'earl JJaro anil others about Hrent. Hrent explains that he stepped In to pee If tho plan were sale Pearl still suiplilous l'ull set Dare Mien lo safo ami tukta. plans from icimpartmeut, hanulni; them to reari. whu Is oierjnjcd Sieno 'J llutslilo of Chemical Uullillnc Show foresrouii'l or maskeil Mllent Menatu at w lu ll uw- Srone ,1 Iloom In Chemical llulldlnR, samu ns siene I l'earl hands plans back lo Dare, who rcaihn oier to put tnem In safe As he dues so nand ionics turoUKIi window and seizes Plans from nlm All rusn tn window and louU out, then turn and run out through doorway. Scene 4 Location on chemical urounds Silent Muiam comes runnlmr Into pictures, indicating pursuers ure on nls nceis Scene Ti Second location on chemical grounds. Pearl and otnera coinu running In. I'eun pultun utf exiltedly. Scene (I Third location on chemical grounds Smaii tuolhouw In picture snuw roregrouna ut Silent Menace. Hesitates then steps behind loolnouse Close diapnragm Open diaphragm on foreground of Adams stepping out from otmr side, holding Hans Ho l hastily bending a nln wnlcn ho puts through plans. J-ull set l'earl and party c-omo running In as Adams hntll tnrustp plans Into stun pocket me iiuestlun Adams, but ho protests Ignorance, l'earl Is suspicious and " Dare orueis mm searched lo tu sentries who have Joined tne parly Show foreground group about Adams, molesting ami Btruggllng l'earl li at his stile uml us no struggles nls hand Is Been to take plans nnd Pin them Inside l'earl s toat. 1 ull tt Still protesting. Adams is searched and noinlng Is found. Dare apologizes, Adams smiles All wltn the exception of l'earl turn and exit l'earl stands a moment, registering bewilderment, then leglnnlng to take i.er toat otf, walks away in deep thuugnt. Close diaphragm. Subtitle- The next morning. Scene T Meeting place tn hotel of the l'oieign Alliance. Pureiun Alliance gathered about tame silent Menace comes In und triumphantly produces plans silent Menace speaks. Spoken title "Once wo hale secured the chemical waters wnlch render tno plana legible tho country Is ours They are now In a sale In tne Cnemical Hulldlng, but so guarded now that a. direct attack la tho only way to ..... ova tnom " I nntltllllllir Hcetie. All CUrlOUS. Inuulre ivliSt tho Silent Menace means by "direct attack." He puts them olf and writes note llanos It to memuer ot Alliance. (This man is Dare's new private secretary J Speaks, Spoken title "ltamond, see that this Is de lliered to tno communuer of our silent army in the usual viaj." Secretary takes note and exits. Subtitle One hour later Pearl sees hex father's new secretary acting peculiarly. Scene 8 Pearl's bedroom. Pearl at window trlng to read but cannot. Ias down book, looks out of window. Sees something mat surprises her and looks out of window. Then picks up Held glasses and looks through them. Scene 0 (Irounds seen through lens of glasses. Small garage In picture ltasmond changing his clotnes, disguising himself as a lamplighter. Takes out small lamplighter TaKcs out small larapllgnter's ladder lrom hiding place In gar agq and exits. Scene 10 Pearl's bedroom as per scene 2. Pearl puzzled, lowerB glasses. Hesitates, then decides to follow. Throws strap of field glasses over her shoulder as she exits. Subtitle After an hour's trailing. Scene 11 Doorway near street corner. Pearl In doorway takes out glasses and looks through them. Scene 12 Street corner with lamppost In picture, seen through glasses. Haymond on ladder pretending to rlx lamp, leaves note In lamp and exits, l'earl comes Into picture and Is apparently preparing to climb lamppost to get note left by Haymond when a second lamp lighter comes In. l'earl passes him by. and as he places ladder against lamppost dodges Into heat uy uoorwa. snow foreground of Pearl In doorway again looking tnrougn glasses Hnow foreground of man's hands reaching for note In lamp. Opens It and reads. Insert close foreground note on screen: Tell Wrenshaw to meet me atthe west end hangar tonight THfc! SH.E.NT menace. Pull set Lamplighter comes down and moles out of picture. Bnow foreground of Pearl In doorway. Lowers glasses, hesltates-then moves out of foreground following tne second lamp lighter. 1 Subtitle The west end hangar. Scene 13 -Outside hangar. Pearl crouching near window. Wrensnaw walks by toward hangar. He la met at door by Silent Menace, masked, Bnd a second man. known as the Cracker. Silent Menace speaks to Wrenshaw. Spoken title "See that the silent army makes u threatening disturbance .near .the Chemical Building at JO o'clock tonight."' Silent Menace turns toward the Cracker and speaks. BDOken tltlo "And you. Hurato, must not fall us7 With tho Silent Klyer you ought to be able to make It. Fly low. and flash two lights over the Chemical 'Uulldlng when you are ready." Silent Menace finishes speaking out above, signals to persons Ins de hangar and aeroplane Is brought out. The Cracker gets In. the other two help him start machine and he files out of picture. 8llnt Menace and Wren shaw get Into automobile nearby and exit. Show foreground of Peart gating off at disappearing aeroplane and very much worried. Close diaphragm. Subtitle Ten mlnutM later at the United Stales Aero Club close by the Silent Menace's private hangar. Scene 14 Office of Aero piub. Tear! talking to secretary excitedly. Spoken title "I must let to the Chemical nulldlng before ,J0 o'clock. Something terrible Is about to happen there. I have tried to get them by phone, but the wire appear to be out it order.' Could you .St". ?;iwi Jfiouj of P . ?""" r t """"""i Make Movies More Smooth Says Jeanticf OS Pretrv Miss Enrflefl PointS H th Way to Film Artistry "KTOr many know It, but Jeanne Eagle k 'I tho extremely pretty youns; actreaa wlifj, nun rt-LiiHc-eii -uurKcry iijuucio m xuv nv . lessors i.oio ptory," is nn oia nana m un movie same. Considering; that Mlaa EaglM !' icuii-i mcic:ii jmu i-ciinv ninjr in jicr iiii e." . - t i The advanced class in Dclsnrtc. Charles takes a lesson in &hairology from his friend. breath from running. Secretary noes mer to noifilcr who lt working ut aeroplane with hh bacL to him speaks. Spoken tltlo "Drlvn this nuns Lilly to the rjiMnlral llu.li.tnfr. Tho fato of the country u lt'U urnin her Kettlnc there In ten minutes." l dler turns toward IVirl nnd dho w ho Is am hht roBl.itera distrust nnd trunks lu v- tar j , t sikpn tit I- MI would rather ko alone." Contlnulnfr pcene. Secretary nnsver ' Irnpon slble This li a new tnodid and ou don't understand It " t'ontlnulnj? mine l'earl ntudlea the protiUm In perplexity, thin rrcumlles lier- ielf to Adams ns a pilot and accepts. Th aeroplane Is pushed out nnd L'earl and Adams Kit In Scene lfi Outside urnund of Chemtcal Ilulld Inn .silent army Catherine Wrenshaw nnd hN ll(utenvti In pliture. Wrenshaw Karen up Into sky. Sicno 17 Aeroplane fljlnff. Show forecround of aeroplane Two IkhM ure seen to thiHh. Hreno IS Outside Che...cal Itulldlnc urounda nn h r scene ltt Wrenshaw turns to his lieu tenants and Kte orders Tho silent army has crown to a eood-slzed crowd by this time nnd at Wrenshaw a order- the adanco toward QUEEN BESS'S PUGNACIOUS PARENT I T IS one of the ileflKhts of tho nerslstent playuoer occasionally to discover nn nctor so far out of tho ordinary so far removed from the humdrum of common mediocrity that ho must needs sugKest ap proach to genius. Tho multi-detailed le vlval of "Henry VIII," which Sir Herbert lleerbohin Tree Is liresenthiK In this city, has as ono of Its chtcfest assets I.yn Hard Inff, who acts the rolo of tho much-wedded Kliin Henry. TIiourIi Sir. Harding Is known to theatreuoers who venture to New York or London ; though his name Is fa miliar to most followers of tho theatre, the actor In person has had hut ono appearance. In Philadelphia previous to his present visit. This was six years oro in a comedy called "Just to tlct Married," promulgated liy Miss Grace George. To most people Mr. Haidlng's lleniy represents his Introduction to this city. That fo fully equipped, so talented a player should appear "all-armed," as It were, on first view has been one of the Joys In watching his portrayal of the bluff King Hal. I.yn Harding was born In Kngland In 18G7. He made his stago dehut In liiistol, Hngland, at the ago of twenty-three. For twelve ycais he toured tho piovlnces, the the great schoolroom for Kngllsh players, appearing In evciy kind of role His travels took him through India, Ilurmah, China nnd Japan In a repcrtoiy ranging from Shakes- don stage n. VBfl-iPl-B t vl6 w ry l?,S!P'i HiSS SfaWl lSwH 'mi&m!wy & mmmsmmwm FfHIKHP-imm it M'e-KW-R(lHflsl IiKi--f--BwS ksMES1 p '7 iflHIH piB9l9&r siSia9r4Hl "MW JBPP fl"tLB' B5 .HOLBEIN'S IIEnO.IN THE FLESH pearo to Arnold Jones On Janunry 31, 11103, he made his firs: appearance In Lon don and Immediate!' afterward vas en gaged by lierrbohm 'Irce for Ills Majesty's Theatre. Hero lie played such roleu ns Hollngluoke In "UlUinrd II." Inu In "The Darling nf the Gods," Casslus In "Julius Caesar," Master I'oid In "The Merry Wives of Windsor," Sir Andrew Aguechcek In "Twelfth Night." Knoliarhus In "Antony nnd Cleopatra," I'ruspeio In "The Tempest," and Hill Sjkes in "Oliver Twist," in which role he achieved a truly sensational success. His study of lio brutal, bestial, almost In human Sjkes. lightened only by his dog-like love for Nancy, revealed at once a new per sonality anil a new talent on the Kngllsh stage Hero was realism carried to the nth degree, but realism entirely. lacking In mere display of ugliness for ugllness's sake The virility of the performance, the unshrinking display of the hard, coarse grained, soulless Hill Sykes, touched only by bo tender n thing ns love, which was expressed as only on artist can expiess such emotion In such a character, still remains ono of the memor able things seen lu the theatre. When Harding returned from "Berlin, where he had gono with lleerbohin Tree In 1D07 to act in various .Shakespearean plays, he appeared In the title role of lianle's "Tho Admirable Ciichton" In London for 150 per formances. He then cieated on the Lon- the title role of Molnar's "The Devil," following this Willi his Doctor Uylott In "The Speckled Hand," perhaps his most popular role with the Kngllsli public. In 1911 Lyn Harding came to America ns leading man for Miss George In that all-too-dellcate comedy, "Just to Get Married," but ns Is the wny of such frail (hough de lightful things, the play did not succeed. "Oliver Twist" was then produced In New York with Harding as Sykes. Then came "Years of Dis cretion" and Arnold Bennett's "The Great Adventure" The lutter play, unfortunately did not get the success It deseived, dun perhaps to a similar play having preceded It by a few weeks, but the drama gave Harding tho op portunity of showing hia range of power. The sheer contrast between the modest, shrinking Ham Carve, who announced his death to rid himself of the annoyance at tached to bearing a famous name, and the tierce, selfish Hill Sykes established one Im portant feature of Harding's personality and art. Perhaps no one but Wlnthrop Ames would have seen that Harding could play something other than dominant characters. And Hardin justified the producer's faith. The hesi tating, backward, poetic artist. Ham Carve the sen sual, forward, prosaic thief, Hill Sykes: such vvaa this ac tor's achievement. Unfortunately, Lyn Hard ing has not been seen on tour lu these various charac ters. He did play "The Speckled . Band" In Chicago and Svengall In "Trilby" In Canada. The failure of "The Deyll's Garden" In New York permitted the actor to rejoin Urerbohm Tree In "Henry VIII." Frevlous to this he "created" the title role of Louis N. Parker's ".Drake" nt Ills Malesty'a Theatre In London. The play ran for a Beason. Harding's contract to coma to America forced his withdrawal from the cast be fore the run had ended. lie has been, widely sought after for .mqvlltf pictures, which Iho RunrcUd pates of the chemlcAl grounds Tho silent army starts a general disturbance. Sentry shoots one. Scene 10 Inslda Chemical nutlcllnir Lieu tenant in lommanil of detail left to euard the chemical wafers Looks out of window at pounil of disturbance OUes soldiers hasty com mind They exit out itoublo-qulrk. leaving one man to guard the wafers, Moldlcr moves to window nnd looks out. Scene 20 Hoof of Chemical nulldlne. The Crackcr'H neroplano lands on building Cracker gets out and goes down through scuttla In roof. Scene 21 Innld.i Chemical Hulldlne as per scene 10. Show foreground of soldier at win now. Outsldn the disturbance, tan mill Ih u,n !l".ow,,'0rround ot stairs at end of hallway, me, tracker Is seen to sneak down stealthily and approach soldier raising bludgeon. Show foreground soldier at window, Tho Cracker" bludgeon strikes the soldier and hn falls, full set c rniker ruo'ies Into onico containing the. s,iro holding the wafers Ho carries a small bag In which Is his kit with him. Scene 2.' Outside grounds as per scene IS. Silent unnv still creating disturbance. Soldiers ch.irgo with their bajonets clearing tho dis turbers out Scene S3 Room In Chemical Hulldlng, same ns sceno 1. Cracker at work ut safe. Ap parently ready to blow It open Lights vfue, backs away out of door. The door of the safe blows out. Cracker comes In, finds box of wafers und runs out carrjlug wafers with him. Scene 21 Hoof of Chemical Hulldlng as per scene 20 Cracker emerges through scuttle and starts to climb In machine. Scene 23 Pearl's aeroplane. Tearl and Adams tljlnj l'earl. looking off, points. Sceno 20 Roof of Chemical Hulldlng as per see. n 20. The Cracker Is seen starting Ills machine. Sceno 27 Air Two aeroplanes filing. One following the other Subtitle The end of the chape. Reallilng that his two pursuers hao the faster machine, tho Silent Menace's herichniun becomes des perate, und tries to ram them Scene 28 Sky. Show foreground of Cracker In tils machine, looking back, hees he Is being overtaken, und. coming to desperute decision, turns leer. l'ull set Acruplane Is seen to turn back. Scene 20 Pearl's aeroplane as per sceno 23 Show fort ground of l'earl and Adams In ueru plane. Adams speaks Spoken title "Good God, he Is going tn ram us Jump, JIIss Dare, with the parachute." Continuing previous foreground. Pearl refuses Adams however, tiirusts end of parachute Into her hand und pushes her off aeroplane. Full set- l'earl is seen to do parachute drop from aeroplane Sceno 3i Sky. Adam's aeroplane and the Cnuker'M machine come Into picture and saiush together llotll machines, blazing, fall tu Iha ground Sceno 31 I.oratlon nearby, l'earl alights In parachute. Picks herself up and runs toward mazing aeroplanes, tho flames of which are visible Sceno OJ Location nearby. Pearl comes run ning In to blazing wreckage of aeroplane, Gazes aiMiut, but iliids no sign of Adams However, discovers Cracker's body and bends over him. Sees bulge In pocket where he lias thrust box and takes It out Opens box. Illscoverlng n lifers Jtiglatera greit elation Show dtaiihrugmed foreground of Peurl a hands ex amining the wafers In tho little box. As she la about to put tho cover on the box again, two other hands tho Silent Menace's como Into plituro and seize hers. show dlaphragined foreground of Pearl's head. She turns It. Open diaphragm further until the Silent Menaca Is seen close behind her. Subtitle Who Is tho Silent Menace? blossoming young womanhood, the title ot-i "veteran" tnnv seen nllehtlv strained ns an . nllccl in hef. Nevertheless, she has arona W..tf through the mill that grinds out our cellu lold for us. And sho has come forth with some definite theories about tho silent drama (ns tho modern Hunthornes of th. saver sncei can it;. Away back In 1913 Miss Katies wa "doing pictures," The Ithino Company (a firm now happily laid to rest) got her services and she played parts under tha direction of John W. Noble, Since then ho has become n prominent director. His work with Metro has been pail of his artistic ad vancement. "Of course. I wasn't featured nt that time." Tlus Miss Ogles In her dressing room nt a matinee, "I was, 'legitimately.' with llllllo llurke nnd her company. I used up the daylight hours four of them under the CoopcrrDewllts. The other members of the cast ijed to wonder audibly whero on curth I put In my spare moments. They wanted me to go to tea and what not with them. Hut I was too busy. It would be foolish to ray that I have done an enormous lot of work In pictures. Last year 1 w.ts in n big Patho feature. And Just now I am considering two offers from Important concerns. In tho time I hava given to photoplays 1 have come to aomt) conclusions. One is that never, never will the movies equal or banish tho spoken, drama. I mean no disrespect to what lsa after all. a tremendously enthralling form of entertainment. I realize what pictures can do and what they can't. And I am confident that the future will find tha cinema a far greater power for art than It has been. "Ono reason why It hasn't mnde tha headway we'd like It to Is the terrlblo I neon secutlveness of the thing. Let tne civs you nn example: In one film I did. I ran out of a house three weeks before I acted, the scene where I left the room to do so. It Is this huddled way of piecing together acting bits that I think should bo dona away with. I firmly believe that beforo long our producers will be building their sets In continuity Intricate buildings aping the real, and permitting the artist to play her or his scenes bb they srould logically take place In life, or on the stage proper. Another of my Indictments against tha screen is the tendency to do every Impres sive scene (In the sense of setting) on a, mammoth scale. You want a cafe, scene. So you build n stunning effect, and when It comes out In tho completed feature tha Intimate emotions of the nctors are quite lost." "How about cIosc-ups7 Don t they carry over the registration of emotion?" the In terviewer asked "Sometimes. But not unless they ore quietly done. All great human sensa tion, perception, Is calm. It must be played calmly. Nowadays, many times we ara given only sensation In the mass great hordes of men, stupendous crowds of women and children. The fine personal art of the actor suffers." "Then you think the actor, not the direc tor, the pulse of tho machine In motion photography?" "Indeed I don't. Tho director Is the man. Hut he has got to give his histrionic ma teilal a chance to expand, to flower and to think." Which recalls D, W. Griffith's compli ment to Miss Eagles ntter she had played a "bit" for him when he was with Mutual: "Sho Is one of tho rare camebs with some thing behind it." B. D. y v ,L1 V T"i " 'tf: ,v, f- . ' A, ST. DENIS, THE DERVISH Ruth, of that name, will be at Keith's next week. IlJP. Hardin ti.ua w-creaU. "Bluff Kin Hr its tk ' ka jfryjitiptt o Come Out of the Parlor ! UT of the parlor into the nursery that is the way some of ' our composers must walk if the tosh we talk about chil dren and music is ever to be anything except tosh. We insist that "the love of music must be inculcated in the child's' mind early,"' but what do we do about it? Humperdinck's "Hansel and Gretel," soon to be given by amateurs here, is an opera for, as well as about, youngsters. How many others are there? Is there another ballet as good as "Coppelia" that kids, will like? Where is the mate for the "Toy Symphony"? Doesn't the "Nutcracker" stand alone as the representative of the music-cum-story suite? ' True, once in a long while some sympathetic artist like Hof manh will take the trouble to dig up pieces fairly well suited tot boys and girls and play them for boys'and girls. But this is, at best, masterly'makeshift. There should be a literature of melody which would be the exclusive- sign and seal of youth. It is not enough that we put children into operas ; we must put operas into, children. For opera is the path to symphony, to song and to all' the high spaces of harmonic art. This neglect of our sons and daughters would be less ap-, parent if the other arts hadn't taken such good care of their. Hardly a week passes without a new book for juveniles; the plays, while not numerous, make a brave front. And the movies art doing pretty well by their young. What shall we do? Shall yr talk cant about "the universality of genius" and feed up the babiw on Beethoven and Brahms? Or shall we look for an American! Sir Edward German, demanding that he give of his talent w)M9! it is most needed? . The answer seems to be : Percy Grainger, the man who' write trifles light as air, both correct and deliciously aban the man who likes jigs and marching songs -and gorgeow young- '4 aK ;, " ?rK '. binations of wind and brass; the man ( who iij so yo that he 4s older than the wpfV . fJ-tX "'"tV " ',' ..j, . : ' ' .fj. 7iLis,?j J:-iA. .. . - '"' wy,,t;SBi outm; ,,.v Kf "'ft. r ! fl- . .l".v, '"$ "kt ,y. . Y tA LVJJ A" t i M'i f ,V.l v3 7 .m t i 'js.l .t r 'J K Ht M ' V i m i i ' u '.,1 V1 i-Vf 'Vtf-i "?, tr M "Vj , '' r i ."- K-E0 ll.lllUi!lUl1JUit"J'1 'fl&'fr wwii , . ft hi 'mil faiiwiiii'i 1 1 J- ih.MrfW&Mitii.,i ,'frtf iM&d. '(kE j -;rt,,'rV" ". hM&mm .U. J:.i-3--- , ,ik:'JMltr
Significant historical Pennsylvania newspapers