HPfWw? SfWfWrl "SAVilS '" 'ffrVH" JJ h ' -" I v EVENING PUBLIC LEDGER-PHILADELPHIA TUESDAY, AUGUST 2, 1021 m m Ptt M u t ki i . ii '' V .. " Nsf -jp5' if " ' i.jir " : . . CLOSE-UPS of By HENRY The Titles Make a Lot ITT. of fT TAKCS a remarkable lot of different different brain to make the completed picture that you fee unfold n story before you ns you sit comfortably In your seat nt your favorite movie house. Often you wonder why the rlrkt few titles gle credit to the photographer, Ibe director, the assistant, tho technical man, the title nrti't and the ofllce bo.v But they all had nn important hand In it. Why shouldn't they net the credit they (iwerve? From your viewpoint, only the star or the leading man or woman counts. Yet, as u matter of cold fact, the actors, In nine caoa out of ten, deserve virtuallj no credit nt nil. I have watched wrncs being shot with some of jour greatest favorites and I have teen the director labor patiently and curefullj aud conscientiously to drill into a naturally sluggish mind some idea of the emotion that he wants convejed to the Mcrcen, And when It is finally conveyed, you sit there nnd thrill at It and you tell everybody what a great actor or actress it was who did it, and so their rpputu tlons grow. Why should you bother about who the director wa-? lie means nothing in your young life, does he? And he had nothing to do with your enjoyment of the picture nothing, that In, except ever thing. 50ME day, uhtn I feel in a particularly grouchy mood tuck as, f'rinttancc, when the Chinaman hasn't got my collars ready I'm likely to tell you how stupid some of your idolt really appear to be when they get m front of a camera and have an unusually effectitv tituatwn to handle. Sot all of m, mind you, Moit of the stars who have climbed slowly and painstakingly to the celestial sphere deserve to be there. Hut take a lot of these machine -made near-stars who arc being pushed up today and oh, tcell; I won't say it today because the Chinaman did deliver and I'm not grouchy enough to do the subject justice, TDUT the fact remains that most of the people on that list of credits really -' dcscrc your thanks more than the artors or actresses. The total effect of a photoplay is &o largely psychological that it is difficult to tell just which depart ment Is to bo most praised for n success or most blamed for a failure. You have no idea how even a seemingly small thing like the work of a title artist can help or hinder the plnys that you see. Naturally, a good story, a good cat and good directing are presupposed. With these bad, Old Man Rembrandt himself couldn't make titles that would put u tilra across though liougucreau might. Hut suppose these things are good and the titles are badly done. You'd probably find it hard to believe that that would make a vital difference in your reaction to the filmed story. But it lias been found by very catcful analysis of past pictures thut een so small a thing as the uniformity In the lettering of these frames has an important bearing on the psychological sum total of the production. All of which leads me to Jimmy Fenick Maybe you've wondered why I speak so often of Jimmy , but he has been in every department of the movie game and he's the side-kick who gives me a lot of the information that I pass on to you. And if I didn't have that Information I'd loe my job here and have to go to work for a living. Perish the thought ! JJtTIIEX I speak of the importance of the title artist I am not referring ft to the man who writes the words that you tcad. If is is an entirely different department, and some day I am going to tell about the king of the bunch if I can only get Ralph ispence to send mc the portrait of himself he has promised me ivery time I've seen him, Spencc is the man who rewrote this year's "Follies," and the titles for "Tho Con necticut I'aitfccc" and "Hum 'Km Up linrnes" and goodness only knows how many others. WHAT I am trying to convey to you is the amount of thought that is neces sary in transferring thee words to screenable form. In the early days of the movie the lettering was done by almost anybody and half a dozen men might do piece-work on the titles for one film. The result was n series of frames with as. many different styles of lettering a there had been artists engaged. Nobody knew then just why it was that these films left a sense of dissatis faction. The stories were good, the acting all that could be desired, the direction and photography excellent. Yet something seemed to bo lacking in the final effect. Then a man with a keen insight into subconscious things began to suspect the titles. Different producers got to work on different angles of the problem and certain styles of type were found to be the best suited to movie purposes. And it was also found that all the titles of a picture should be lettered in the same style nnd in letters the same size to get the right result. That's why the movies hnvo developed men like Jimmy Ferrick nnd put them in Jcharge of this Important detail of the business. The title director isn't just a sign painter any more; in most of the hi? productions he conceives art effects that merge into the development of the story and strengthen the atmosphere. He devises titles in which the action continues while the letters fade In, stay long enough for you to read, nnd then fade out again while the action goes on. lie evolves symbolical effects for some types of story or, at the opposite extreme, he introduces the cartoon Idea to carry along a rollicking amply. But, whatever it is, he does it all not In the old haphazard method of bygone days, but with a sure estimate of just how his own work is going to ble'nd with the work of all the others in the production and make that finished production which sends you nway from your movie theatre singing the praises of the people who sometimes Icabt deserve them. 1JTATCII the art titles next time you see a big production. Study VY them caiefully and you will sec this close co-operation with the other departments. And then maybe you'll begin to realize what a tremendously biij and complicated business you have built up by your constant demand for more and better pictures. Answers to Questions ! From Movie Fans Christopher Jewel Carmen is the l.tar in "Nobody." She is married to Roland West, the well-known pro ducer. It w-as Dorothy Phillips who played the lead in "A Soul for Sale." You are right ; she appeared on the stage before her screen career. She is married to Allen Holubar. They have one child. I Pearl W. Josephine Hill is working on a co-feature picture with (ieorgi LarUin. entitled "Man Trackers." The addresses you wish are as follows: KU- i nor licit, SJi.londalu avenue, den- dale, Calif. ; Ldinor I aire, Fox Tilm Corporation, Hollywood, Calif , Texas I FROM THE PILLOWY DEEP t. It ' IWHI -Mir tmm iidsK w'' -aaaBBwKsafeMrviilBiiHtB ilaH m ' ( Marlon PL;l.iMV.'SMEIM BkJ ' Designs nifyit wlk & i jEsKraGfcJiliajfilHB fm:' ' V Mtit'-T TnMnnrr-niii!3lKrZi iiiZ nan wmmm - w . B mi ("Cie D aily Movie Magazine the MO VIE GAME M. NEELY of Difference in Pictures men and women with u remarknblc lot Guinan, Hull's I'ye Studio, Hollywood, Calif ; Fay Tlncher. Christie Studio. I.os Angeles, Calif. ; Kuth Dwyer, 1533 Hast Third streit, Brooklyn, N. Y. : Helen (iibson. Capitol Film Co , I.o-. Angeles, Calif , ind Josephine Hill, Fniver-al City, Calif. Scotty If you will follow the sug gestions and advice given by successful moving-picture writers, I nm certain that you will find It helpful. You say j on think you hnvc the necessary quali fications, but unless your qualification have bien recognized it will bo difficult for you tn break into moving piitures It requires adequate preparation and an ind'iiuitalilt! will to succeed. Possessing these, you will no doubt win out. If. M. B. The address of Hohart Hosworth's productions is care of Ince Studios, Culver City, Calif 4VV-'ti. J . m JS MAKING THE m KBmmJl&Mrrrmmi 1K sS How Those Cartoon Characters Are Made to Move on Screens prow do they make those funny --X "animated" cartoons von see In the movies? The question is often asked, but very little in the way of ex planation has found Its way into print. When you wntch the grotesque, yet as tonishingly life-like, action in the best of them it seems incredible that such results can be accomplished simply by drawing a series of pictures, photo- b-mpnmg tnem separately in sequence and projecting them on the picture screen. What an enormous number of draw ings must be made, so many of them apparently identical, yet necessarily different in some detail in order to pro duce the effect of life and movement in the figures! What extraordinary patience on the part of the "animated" cartoonist! Yes, that's the answer. When you were a child, nnd your Sunday school teacher put tho question, "Who was tho most patient man?" hiiru of your ground, you answered, "Job." Nowa days, if you should put that question to an "animated" enrtoonist, the chances nre that he. would nnswer promptly, "I nm." wOU can't get any more out of J- nnimntcd cartoons than you put Into them." declnres Bert Oreen, n rec ognized master of the nrt. who "ani mates" maps nnd charts nnd otherwise dry statistical tables and diagrams in I'atho News "The job demands the patience of Job." But the job is importnnt enough for I'athc News to maintain a complete mechanical plnnt for turning out this special product including the photo graphing apparatus, with the motion picture camera standing on its head and "shooting" strnight down nt the sep arate drawings one click of tho shut ter rthen the operator touches the electrical button controlling the mechanism. This is another "Job" part of the job. Remove the photographed draw ing substitute the next on press the button ; nnd do this several thousand times to make a picture that will run on the screen for eight or ten minutes ! AND these "Job jobs" nre steadily Increasing in the motion-picture industry. In the eight or ten years i since Windsor McKny completed n series of some 10,000 separate drawings I and moved them in procession before the lens of n motion-picture enmern to illuminate upon tho screen an amazing day in the life of "fiertie." the dino saur, the creations of most of the cele brated comic artists have been sub jected to the same treatment. "Ani mated tnrtoons" havo hVcome to the screen what "comic strips" are to the daily and Sunday papers, and they nre the product of the same type of pic torial genius. There is a sufficient reason for this growing popularity of nnimated car toons. The principle Involved is funda mentally sound Whatever the artist is able to create with his pen appears on the screen in nil its original perfec tion, with the tremendous added effect of apparent life nnd motion. Trans ference to film being almost entirely mechnnlral that part of the process Is mathematically accurate. THH making of nn nnimated enrtoon has remained practically a "one man job " All thnt enters into the creative part of the picture its scenes and chnrncters nnd incidents must be none by the same hnnd Details of ac tlon. however such ns movements of a man's legs in running are supplied hv the cartoonist's assistants, called ' animators " Formerly the entire fig ure, and also tho scene represented, was copied nlong with ench change of detail with apparent necessity, for how- else would a complete negative re sult'' Not long ago. however, this im mense labor w-as obviated by tho in vention of the "celluloid sheet," which is sufficiently transparent to enable photographing through It changing de tails of a figure. Thus, If through a sequence of a score or more of draw ings there is movement only of the iliarncter's head, or arm, or leg, the "animators" hnvo only to redraw the part thnt moves, the moln part of the 'figure uud the whole "set" remaining under the camera lens on tho trans parent sheet. ' Thi- device, of course, demands that all the detail drawings "register" per fectly vvitli the outlines of tho fixed main scene nnu ngures on tuo cenu- loid sheet hut that Is a simple matter I of mechanical efficiency at tho "nni- I mator's" drawing hoard. OI'T o r-arto T'T of tho art of making nnimated oons have developed mnnv de vices and so-called camera tricks that are exceedingly effective, especially In a decorative way. You see a pen with no hand guiding it writing words across the screen, or drawing 11 pic ture; you see n monkey frisking across the screen nnd leaving in the trail of his long tnil the autograph slguaturo of the author as in the main title of Paul Terry's "Aesop's Film Fables"; you see lots of other seemingly mirac ulous occurrences, most of which ac companied tho development of this screen specialty whose chief Incredle 4 tbe patience of Job. . , -x "' t, ',' . . TITLES IS AN IMPORTANT FACTOR IN PHOTOPLAY PRODUCTION j hi i iiMii rmn n in niiw inn iimi 1 1 inw n ' mwpMw :.".. ,jh liiiMiwiiiimMiMfiliill!( i !"i " Rex Ingram Will 'Turn to the Right" and Be Married By CONSTANCE PALMER AT LAST it's happened! Alice Terry nnd Uex Ingram have an nounced their engagement. They plnn, to be married directly "Turn to the Right" is finished. Mr. Ingram is directing it and Miss Terry is the star. isut iiere s more news : He has made her promise to leave tho screen. This Is a very definite loss, for Miss Terry, to my mind, is not only an act: ess of promise but of fulfillment. Thnt grand old man of the show business it's Inclusive, for when one can run not only n successful 700, but several successful motion-picture com panies, ono must be inclusive Colonel illlam N. Scllg, hns gathered together "4. c'lht unJ a K01' '"mtor to make The Rosary." Jerome Storm, who made something like fourteen succes sive pictures with Charles Ray, is the latter, and the former includes Jane rsovnk, Wallace Beery, Lewis Stone, Robert Gordon, Fugenie Besserer, Harold Goodwin and others. Louise Fazendn, about to begin her fourth comedy for Educational, bus had to have a cast put on her knee. She sustained an injury dining one of her pictures when she jumped from one aerial wire to another. Pretty hard luck! But we do hope that when the cast is lemoveil she will be tntirely well. "The Grey Dawn," n Stewart Fd ward White novel of tho Mil days in San Francisco following the gold 'lush, is just beginning as a Benjamin B. Hampton picture! Claire Adams is the presiding houri. JJIDDIE POLO is filming a s.-riul J' based on nn international contto- versy over oil. An inspired i. a. told me. behind the hand, as it weie, that1 a noted geologist, after watching 11 scrmi being made, hailed in gasps the brunette Mr. Polo. He lequestul Idm 1 to tell the entire story. Tin geologist , being very famous (the durn p a. I wouidn t tell mo his name, but listen to want toiiows), lie was obliged. -why," he gulped, "1 worked on that case but I had no idea that it had been made public!" Ho hum! Also, dear, oh, dear me!" The Elks have been holding forth in L. A. for the last wetk, and a gala time they hnvc had They visited all the studios, and sun just how it wus done When tho Pluludtlphia Mounted Guard of the B. P O. E. saw Fled erick Wnrde enacting Omar Khayyam, they were good enough to wait till the scciio was finished, hut directly after ward they kidnapped him bodily ami can led him off to the convention audi torium. Speaking of Omnr Khnyynm, theie was considerable discussion bi tore Ferdinand Pinuey Enilc started to pro (lino it, as to just who was the author. There wcru even some 1 Dictionaries who insisted that Omar did Fvidintly tin; wire vvoisted, for the dramatization has been copyrighted by Mr. Enrlc, but stpurntc papers have been filed to safe guuid tho continuity. Bobby Vernon Returns to Christie Bobby Vernon is buck in tho Christie fold, and is already 011 the tall end of finishing his second picture, which will be released as a two-recler. CARPENTERS BUILD W hvmiiirtriTOffnfirittiwmririMrir Things uro notf vv hat they seem on tho screen, Tho f rontvluvy shows great strength, 'but the rear wouiA dlscldso wooden po'sSKon which" ,canvas i 7 , tf 1 .t Til . Can't Tell if You Are Photographic, Declares Neilan Uy MARSHALL NEILAN BY THE snme token that some photo graphs highly "flatter" persons of ordinary and even homely looks other photogiuphs fnll short of doing justice to women of great beauty. Many of you know of specific in stances where the beautiful face is dif ficult to photograph. Perhaps you have girl friends with faces of rare beauty and yet every time you look at their photographs you feel they are far from being beautiful. Tho phrase, "Benuty Is only skin deep," is particularly true when ap plied to motion pictures. In other words, what is very often benuty to the eye is far from such to the camera. It is hardly proper to say that per sons of small features are the Ideal pic ture types. Some of our most attrac tive faces on the screen arc normally large. Regularity of features, of course, is most essential. Eyes that arc set far apart, such as, for instance, those of Colleen Moore, help n lot. The rea son for this, who knows? I have yet to find n person who can guarantee upon looking at a face that It will either photograpli beautifully or otherwise. Many hnvc attempted to do this, but they have lxen wrong ns many times us they have been right. WIIAT plnye HAT I look for in the faces of my The stoic face is ull right for the vv. k. American Indian, but it means nothing to the screen where everv oxpiosMon must bo registered with the eyes, the mouth and the muscles of the face. Brains nre another nil-Important feature. Beauty without brains is tire some. To net one must hnvo brains de spite tho fact that many believe this is ' not necessary. A pietty face Is good to look nt for a while but there must be more than beauty if you wish to hold attention, As far as photographic values arc concerned, there is only one true test and that is u photograph. If you have good looks, r n fnce that will photo I ppnnll UI'lL nltm lirnltlM win jmvn n even chance. I do not believe any one can sny whether a person Is ncceptahle to the camera's eye until n photograph is pro' duced to prove that physically this is so. Actor Learns English in Tii'cnty-six JFcehs WHAT young American, stage lead ing woman could lenrn n pnrt in Dutch and piny it for twenty-six weeks through Holland? The reverse of the stunt was success fully put over by Frederick Vogeding, the young Hollander who is now sup porting Gladys Walton at Cniversal City in tho star's foithcomlng attrac tion, "Cluistine of the Young Heart." Vogeding arrived in Aineiicn just vvuen i lorence jtouerts wus seeking a co-stnr for "Blindfold," her fnmous piayict uy iiooert ungues, which urn tor twenty-six weeks over the Keith uud Orpheum vaudeville circuit. With smrcely a word of English nt his com mand, Vogeding was given the .part becniiso of his dramatic ability. He lapldly acquired English nnd now sptnks without the slightest trace of accent More than n finiincinl success, the vaudeville work gave the hnndsonic young chap a wife, for he married his ORIENTAL PALACE vas Ucks ll;1,ri,'t,-; v wr jj-'iJH ,WM l' 1 m - ,s iMiMd I ..i ....... ..i , , ( fc-"" hp - The card on which the title appears is photographed with the aid of a strong light The other view shows Jimmlc Ferrick painting ono of the Tooncrvillc captions This Is How the Story Begins: JfiELLA MORELAyi), most famous of screen stars, hears that a young girl, Annette Kilkins, has fallen in love with Roland Welles, an idol of the icrccn. Miss Morcland, to save Annette, wiitcs the story of 5,7". ,0""" irn!"c 'ore affair with 11 dies, intending to send it to Annette so she may know the kind of man he t'. She tells how, while a pianist in a movie theatre in a Western Penn sylvania town, she met M'ellcs when he made a "pergonal appearance" there, how he invited her to come to Acic J or: ntid said he would place her in the movies, how she came and the chilly reception which he gave iHI "J ,ih,C sUldio' , Thcn' doming interested in her, he gets her n job m a small town stock company for oftenTPCrte"CC' pro""'"" ' sfo her lJ,h '"J""'?cr "" her and she lentei, f,,,l y getting into pictures VlVe7 Ynk- ',IcrC, hc unr' " H cllcs. He makes love to her, pro- posei and she is deliriously happy until another woman reieah Welles' perfidy. Then she quits him and the company. Noiv Go On With the Story Mnr. nnd Angele,s. they nre now living in Los hnvo n l"' .,f tlU' ?l,,"B JUart" have a douhy cordinl reception in Europe for Miss Walton's popularity overseas will be paralleled by Voge dings fame. Before his arrival in America he played for sovernl years nt Horn? "fi"1 tllll'ntro, nt Dresden, the Rpynl ihentre nt Amsterdam nnd in Ucnnn. His stage work comprised twenty-five big diamntlc productions in which he piny id either the starrinx, role or the leading masculine pnrt opposite some femlnino star. Author Gives Lot of Time to Work ,Ali,Ll'"',!; Mllll'r- "' "rote "The Man With Two Mothers," spent sev oral months on tic preparation of this and another original photoplay. rilOTOl'I.AVH HOTWlAYr )AJ-Tt vunanzui, I.UMMHY orAMtftrCA APOLLO 82D Si THOMPSON KT3. MATiNisr. riAir.v "Bob Hampton of Placer" ARPADIA cm: si nut 11,1 iutii TIlnVIVN II INCK'N IToil'irtlnn "THE BRONZE BELL" ASTOR niANKLIN & OlHAIU) WE MATINRR I1AII.V CONWAY TEARLE lnJMir KINO TUB 1KIKK" BALTIMORE J&tt I'ttWHtff LIONEL BARRYMORE !"I,r ii:n.'rt iAiti)i:." RFNNI UrU1 AN" WOODLAND AVE. DCINI MATINHB DAILY llli: I'AUWKKNT SI I'KIl SI'l.CIAL "DECEPTION" BLUEBIRD IJroatl &. Sunqufhunnft f'nntlmmiiM until 1 1 NORMA TALMADGE In "llli: I'AsMON rillVVI.lt" TAPITOl 7JJ -MAKKUT HI". "rl I VJL. 10 A M to II 15 P. M JACK HOLT In "Till. MhrKK HOAII" CD ONIAI ln -Mapl. wood Av (,i:i)ll(,i: MKI.rnillk's I'rmluctton "A WISE FOOL" DARBY THEATRE JACKIE COOGAN In "I'l.CK S II VI) ltd V EMPRESS MAI1?AKfJAI?AAIy.lvSir "PROXIES" Tlli.Klim.T JACK NO 7 FAMILY III.ATHK 1UII Market Ht. H A M Tfi rm vmtiT WANDA HAWLEY In ''TJIKJIlKhh 111 VI' JA'y. IU .T" SflTH ST 'IHBATIli: llelow Hprur 5bl" WV-STMI CVn' DAU'Y "GODLESS MEN" FRANKFORD "h N&W0 MARY PICKFORD in "SUDS" Ai)i)i:i iQNKiin ikimi: txi.knt ri rviac bboi .maukht ht vji.ivajij. 'in nmi n to to JACKIE COOGAN In "I'Hflt'H HAD HOY" 11 P.RAMT -102a UIKARD AVE. "'Hitli'.L'. WATINI5K DAIL 1HUMAS MEIGHAN u-iiy uK-sitisax mknh.. . - . v. 1 :v f i . At ',- r . IL 1- . j-,.t it -...., , , The LOVE STORY MOVlEaSTAR BUT it Is all due to little Jano Bcr gora, who plays ingenue parts: she came up and kissed mc before them all. And, aa she did so, I noticed that the pcrfurao'sho was using was lilac I Tho scent came swooning over mc. Oh, tho fresh lilacs that I crushed to ray lips thehlght that I first met Roland Welles I I felt drowned in the rush of tho past, tha overwhelming flood of sweet nnd bitter memories. That love that mounted In my heart throughout that year until it culminated in that kiss beside the pool under tho tree. And then the blank year that followed ! I am lovesick tonight. Why should I not confess it? that aching longing that I have just to see him again: I nsk for nothing more Just to see him I I lean back in my big, comfortable chnir, nnd, closing my eyes, conjure up the well -remembered picture of his face. There Ib not n lino or feature of It that I do not know, together with its every chnngc of expression. Did any ono ever have such a won derful smllo, I wonder? Ah, Annette, you who have felt its charm will find It in your heart to pity me, I nm BUrc. For you, of nil women, will bo ablo to understand. But side by side with the softer nnd more tender feeling, I nm conscious of another surging impulse : a touch of the old recklessness returns, the reckless ness that brought me my first fame. For it seems to mo that all through the first year I was here, nnd after, my broken heart nctcd ns a spur to drive me to tho wildest extremes. I was merciless to myself and merciless to all who had the slightest Interest In my welfare, merciless in my daring. And tho whole studio wondered nt mc. The "Little Panther" was on the war path! II did all he could to pro tect mo from the consequences of my own folly. I was soon aware how deeply and sincerely he loved me. And, slowly, through him I achieved a new laith In men, a new hopo in life. For his love was of a kind I had never be fore seen in any man the kind that I had dreamed of as n very young girl, but had come to believe was never to be found outsldo of n young girl's drcntn. My foster-mother's terrible revelations hod crushed that belief al most utterly, and what sho had not suc ceeded in doing, Roland Welles had completed for her. But II 's love was unselfishness itself. It was the love that never thinks of self, but renounces for the good of tho loved one. It was the love thnt gives without asking uny return. It was the love which, while always at a white glow, never leaps into flame, never dies Into ashes. And his patience with me! He threw the arms of his spirit about mc to protect and help me. What would I over have done without him? It sometimes 6cems to me now ns if H represented, or nt least called out, all thnt was good In mc, while Roland nppenled only to what was bad. The angel of light, the nngcl of dark ness. And how tho two influences struggled within me! And in this inner civil wnr I was constantly being torn. Ah, if I only really knew what I want ed! But tho dnrkness is .sweet, the darkness is sweet! II must have divined early in our friendship what' was the trouble with me, for' never once did he speak directly for himself. But how much ho did do for me in n thousand different ways! Without ever putting it into words, ho made mo Bee how crude I was as an actress. He turned my thoughts toward study nnd self-improvement. I am not ashamed to confess that by the gentlest hints nnd the most casual sug gestions he taught mc manners. A movie actress, pernnps even more than an actress In the regular stage, because she is called upon to play such an infinite variety of parts without much opportunity to study, must be able to assume the manners of nil classes. She must be nble to play the woman of good society, the queen, tho uhop girl, the girl of the plains, the thief, the woman of the street, each In turn, ns the cuso may be. And it wnH especially in "polite" parts that I failed for lack of experience and training. But I was an apt pupil, npt Indeed. And the fires of my ambition once lighted, I let no opportunity escape mo for self-improvement. If for no other leason, I was gruteful enough to wish to please II . But besides, I soon found, ns many another broken-hearted woman hns done, thnt there is no ano (llnn like hard work. Owing to the fact that in tho begln- rim-rni'LAYN crPAr W Ins theatre3 obtain their pictures through the biAJNLbY, Company of America, which is a guarantee of early showing of the finest productions. Ask for the theatre in your locality obtaining pictures through the Stanley Company of America. "iuey GREAT NORTHERN 5W& W VIOLA DANA In "THK OET.BIIOl'.i: I'lKATF." IMPFRFAI ,,0T" WALNUT bTH JACK PICKFORD "JI'HT OUT OF t'M.I.KOK" I fllifrr Palnr G'rmantown Ave. and ,.'2i.s,5LKI,K"" rnnnrcTinv "TOO WISE WIVES" OVERBROOK03U V?0"0 "STRAIGHTAisCfHEn'wAY" PAI ACF '-H .VAHICKT HTHKKT AL willia'mVhart'3 '" M 111 "Tin; miisTi.K' PRINCESS 1018 MAKKirr STHEET S 3(1 A f In 1 1 is l r BEBE DANIELS Mill: CO! IJ)N'T lllil.1' IT" In RFCFNT MAimirr rt. ueiow i7tii CONSTANCE BINNEY In "HI CH A I.lTTI.i; Ol'KKX" RIAI TO UKUSJANTOWN AVKNUB i.Ci,i.ir. . AT tit,i'i:hocki:n st. CONSTANCE TALMADGE In "POOD KKFKKi:CKH" RURY "AUKET ST. IIELOW 7TII i;nJ'"n'H.r,l.ln,SI'-M "THE GREAT DAY" SAVOY ,:n MARKET STREET KATHERINE WcfibB" tn "l I.AIIY'S I.ATCII 1. KY" SHERWOOD "VAt "& PAULINE FREDERICK STANLEY u.Tr A7, jTr CONSTANCE fALMADGE1 in "i.rNsovH in mvr." 333 MARKET TOl'.??1!? ' ' 1 .-.V. ' Ti f ' -"-" 1 Nazimova as "CarniWo" ALLA NAZIMOVA Nnzlmovn, superintending the cut ting of "Camlllo," her Intest pro. ductlon for Metro at Hollywood, Calif., grew reminiscent nhout tht diameter sho was portrnvlng, "I plnycd 'Camille' first in Rus sian," she said. "I was Just a girl from tho Conservatory acting In tha provinces and playing a new role every night. Those were the days la which I made mr record of playing J100 different roles in one season, 'Camlllo' was one of the roles. "What a contrast there Is between those dork days of drudgery in shabby littlo Russian theatres and this I" With a sweep of her hand she indi cated tho luxurious atmosphere of tht studio, surrounded by flowered gar dens and bathed In California sun shine. "And then the contrast be tween the makeshift costumes I had to wear In my provincial days and the Parisian gowns I havo for tha film production. How I would hav enjoyed such extravagance in thou days!" nlng I bad whole days of leisure when I was not needed for any of tho plctuwi In process of making, at which time my presence nt the studio was not required, I began, for tho first time In my life, to really read seriously, with an ob ject in mind. I unhesitatingly con fessed my ignorance of all that wai really worth while in literature to H . Doubtless my confession did not surprise him. But no one could havo helped me with greater klndneu and tact. Attacking my new problem with characteristic enthusiasm, not to say In temperance. I spent whole days seated in the reading room of the public li brary, often remaining until the hour for closing. Fortunately, I never hsd more than two or three days ut a time to myself. If I had had, I probably would hnvc done my poor eyes some lnstlng injury. But so observing a person ns II could not fall to notice how pale and heavy-eyed I constantly was when I presented myself nt tho studio on the morning when I was wanted. A littlo judicious questioning on his part brought out the fact that I was readinj just as recklessly as I did everv thlnj else. After a talk with him I resolved to continue my studies on lines more in accord with tho dictates of good sense. It was about this time that my old enthusiasm for the theatre and acting revived. As I had many free evening! nnd no longer had to guard everv penny in my purse, I felt justified In frequent ing the thentres again. Besides, was It not nil In the lino of my self-improving lessons? My thoughts went back to the days when I used to go with Mrs. Burk stadt. I would hove given a good deal to hove hud her with me just for one evening. It was n long time since I had had any word from her, chiefly through my own fault. Her last letter had remained unanswered for months, owing to the fact that I w-as far too depressed to write. Then, too, it had been a mnttcr of pride with mc not to write until I hnd some good news to impart. Her letters nlso depressed me a little. Somehow I felt thnt sho was not altogether happy. In some way her son seemed to have been n disappoint ment. Without exactly saying that he was unkind to her, she showed that ho frequently wounded her by his areles uess. To Bo Continued Tomorrow Getting to Work at 6:30 A. M. Phoebe Hunt surprised the gatcman nt the studio her first day nt work by appearing at (1 :.'() in the morning. Complicated make-up was required for her part In "The Grim Comedian," and Miss Hunt had made up her mind to be rendy 011 time. I'lltirOI'LAYN M0TIH'UlY, i&anEtu COMPANY u -OTAMIRICA tfVjfThc NiXON-NIRDLINCF-R MJ THEATRES BELMONT WD AI10VK MAIIKET V-XNr-t k.L-. ' 1" v it ;tu in 11 I', Ab "UKUI'HY DALTON .. m "tiikjiioi, or Tin; north" CEDAR ."0Tn CEDAR "avENOTS ,,... lr.U CAST In WOMEN WHO WAIT" COLISEUM ,?r,rl:t tft. with &60th . - ""'I " ;,n I" H f. M. GLADYS WALTON In "HIIOKT MURTh" JUMBO K,no-NT ST r OIRAHD AVH. Ann- f.Aiii'JIVfB Junc on rrankfnrrt "L" The Charming Deceiver" LEADER " LANCASTER a"v "U,-,lX- MATINEIJ IUII.Y DOROTHY DALTON ' "THE 11)01, or TIIF. MIKTII" LOCUST .5-' AN'IJ LOCI'HT STREETS nn.'.3"'"1' ,:,l-' 30 to It PRISCILLA DEAN In "ICKI'l TATION" STRAND OERMANTOWN AVE Al.I.-HTAU C.T In (,rit 'Viri.rOHD'S "A WISE FOOL" AT OTHER THEATRES MEMBERS OF M.P.T O.A. rprmnnfnum r'3'u ierin ,.n Av uermanown matinee daily Jiini) Nuv.ik In .liinii'M Ollirr L'urnoud'f "KAZAN" IFFFRRSOM -Hth & Dnuphln Btsj i . iT1N MATINKE DAILT ' ELSIE FERGUSON In ".SACRED ANIl'HOFANE I.OVE" PARK r"U('I2 AVE. K DAUPHIN ST. X ,., lt. Silli. Evkii (IH8 to I etnu CK-yfe 11 nd Nnrmnii Kerry In . "PROXIES" i TOLLEGHENY ' , I !1'UE-eixx.jorjutwT-wiare "-vtvv ' - 1. jJ''r'srVKrt.rrt, yl.'v
Significant historical Pennsylvania newspapers