UW.MW TfFWy V'Ta- !! t.w, v vVT. ' .". -J V-rrt'JV ' T rinrw.v T V " :-''C r 'V. ."- n ' . .J.t? ,-.i'. .' t 7 , , . .'"J ' . " ' K ' I, - V4. '' ' .. 1 :W J. ft v . EVENING PUBLIC LEDUER-PHILABELPHIA, BATURDlAt. AgCHTST- 20, 1021 aS h$ t.s i:m- hifi). i r&j. ;ur r vs1 K . ' ir . .. tl i I i'3 : .v, ' 1 V. NnV Vo-.- if CLOSE-UPS of the By HENRY There Is Romance Even in the Lights of a Studio ' YOU were to walk for the first time into n big modem movie studio in full btnst. Gcraldlne. you would not nt first get the impression of fairyland thnt vou expected. You would be too busy through n mane of big. Miako-llkc, high-powered electric wire?. And when you Onnllv did lnnd in front of n tet and besnn to wntch the action rolns on vou would find half your pleasure cone because you rould not set axa .llrora tlic'evcr-prcsent fear thnt one of these wires was going to Jump up nnd You' would fnd vourpelf nfrald to move. Everywhere nbout you there would bnjiuge electric lights of vnrlmw kinds, nil suggestive of dcntli-dcnling currents. i nnd vou would find yourself scruncning jourseu mio un nimi " i'"-- bio for fear of touching them on a sole spot and making them sting you for ' ulnfliii? frt not on npnr And vou would wonder how the men and women about you can be so careless , with m mii.-li nlzzllnr? ilrnth on every snuare foot of lloor fpnee how they cm .dare to seize these monsters by nn.v part of their anatomy nnd fling them con- Stcmptuously from one spot to another. You wouldn't step on one of those big black wires for nnything nt first J And you wouldn't touch a bit of the metal work of nn.v of the Cooper-Hewitts J or tnc Kleigs or the spots and decidedly not one of those gigantic sunlight nrcs You can usually tell a novice In the studio by the gingerly way he or sl,e picks out tho spots to btep on during n tour n round the place. There Is uual' i on assumption of a verv nonchnlant nlr. but the wires are always undisturbed 1 .. I a foot (speaking both nnntomlcally nnd linearly, if there is such a wordi. Bl'T, after a tcJiilc, vou begin to tee thnt it is really the light thnt make the romance of the movie. 1I"if7ion them there irowM he i none of the beauty, none of tho reanderful art eff(Cls, none of the ;o- tibitity for elaborate scenic nettings that we have come to demand on the screen. The best sunlight movie you can make would be crude and ' unsatisfactory compared to those which are the average under the j modern lights of a studio. ' rplIE fan magazines speak so often of Klieg lights that the fan has come to 1 JL think thnt Kliegs nre the only ones used. ISut thev aren't not by n long ( shot. In fact, the Klleg light, which gives out a "hard" ray. with heavy, solid shadows, is getting into rather bad repute with the best movie photographers. I asked them over nt the I.nsky Long Island studio for n complete list of I the lights thnt they used in tho plant. Yon won't know what half of them nre (which is a clever' way of admitting that I don't know some of them myself I durn clever ) , but here they nre just to show what a vnriety the modern studio i requires: ' There are. in nil. 310 lights of different kinds. On the list nro four un- 'light arcs, fiftv spotlights, fiftv-four Cooper-Hewitt banks, (.pu-nty skylights. ' Fix gooe-neck double banks, fifty Wohl sn3lps. fifty AVohl tilting, twenty. four i M'ohl broadside". twe:.ty-four indirect top lights, six three-lamp effect domes and four single top lamps. So now j on have an ex net picture of what the lights in a studio look like. haven't jou? Neither have I. 4- Hut this list will at least give jou nn impression of what n complex branch I this Flngle phne of the industry has become. In this same Long Island studio it requires a big force of highly paid, skilled men to handle thee lights, for if anything goes wrong with one of them (the lights, not tlip men t tln-re i likely to be all sorts of trouble. ; Tho stnfT is uiiiI't a chiff studio electrician, who has seven master elre- trtcians under him. The a fial operation of the lights is in chno of twentj - five electricians. IT in the Cosmopolitan studios recently I ran across a little device , IJ that is cutting dotin this last force of men. Look at the pictures on l this page. .St the one which looks as though two men were playing i checkers on n hoard on a little tablet It isn't a checkerboard. It's a distant control box for every light nn the set. i With this nt hand, the cameraman takes a squint at the scene in i Zit'j finder, tells the fellow alongside of him to douse one light and put t on two more .somewhere el'c or diffuse another, and it is all done at once t without any yelling at distant electricians. I 77101111 of the fnmous Klig lights nre shown in another picture, where Director j William D. Taj lor stands with his buck to them, typifying the way the i Industry is turning its lollectlve back on them. They arc nasty, bard, glary. hissing, hot, sputtering things and if there's anything I've forgotten to call I them, they're tliat, too especially in summer. I The picture of the big searchlight on a tripod with the lady standing In its midriff is n sunlight arc. That's the daddy of nil the lights In n studio. Three , hundred thouim! candle power! They've got the biggest of all the sunlights out at Universal City and it is s0 brilliant that the movie photographer inn take u close-up of an actress with the light 200 feet away. The ordinary garden variety of sunlight arc throws a rny so strong that ' If its focus happens to retl on a bit of scenery for a few minutes there is a nice) little fire started. S In tin. iilnito-rnnli tln Inilv Isn't stnnrlin? thi.ru In nrilir to Hrn tho flmtprn ! In her hat the rewriting effct of this eire of the apparatus. J The box-like tiling she is standing on is the rheostat. I'm glad you know l what n rheostat Is beiause If jou didn't I'd have to explain, and If there's any I thing I hate it N to have to explain the inner workings, the likes nnd dislikes and the fain Iy coni.ections of sunlight nre rheostats. I hope you won't get the impression tiiat I don't understand 'em mjelf. I5ecnue that isn't the impression I want to give. Not at all. The hinck-nnd-whito effect picture, which doesn't look as if it showed nny- thing at nil, really shown more than that. Considerably more. ' From top to bottom, beginning nt the top, you see u side view of the Illuminated parts of the dome lights. You'll notice three kinds and by referring i to the list of lights can identify them more easily than if I pointed them out J to you. J Underneath OU see the irlnrln- pros of sir cnnlii-lit nriu (ttm Tmlv uttwlin , uses only four, but this picture was taken In the Cosmopolitan plant). You ' can gee how the rajs arc focused so thnt they meet in transit nnd nre diffused by . the time they hit a piece of scenery or an actor or nctorine. j Underneath all, standing on the floor, nre three banks of Cooper-Hewitt mercury vapor tubes. To the human eye the light from these banks is n ghastly l blue. You've seen it in the postcard-photos-tnken-while-you-wnit places along the streets. But it is the standby of the studios, because lt'ls easy to move, gives j a beautiful soft light thnt allows all kinds of artistic effects and it isn't nearly as J blistering hot as the other lights. " 1 , TATURALLY, electricians have drxeloped a slang of their own about J these lights. I stood watching a pnntogrnpher lighting a set in the ' For studio last week. Peggy Rhau by nollirs, but that little gnl is purty! icoj jiflin;; far a semi elonr-up and the photographer was try - ing to get a crrtain effect ictth hrr. Finally, dissntisfud, he enlled up to an electrician in the balcony. 'Hit her u nh the ash ran. Hill." j It sounded brutal to me. And I hoped they wouldn't do it brrrjusc t the photogiapher was bigger than I am and I didn't like the idea , trying to stage a stnl.c-that-womon-over-mu-dead-bod'j stunt. I wis . afraid my body really would be dead. I Hut it turned out all right. I found that the ash ran was what thru call a baby spot-hijht, and that hitting any one with it merely meant turning sts rays directly upon the. prrson's face. i Wi',h J h"d r00m lirrr '" '''" vnu so'"c mnre "n(iit how pretty that little Peggy ,haw is. nd she can act, too. Itut that doesn't ; matter; she's so pretty she doesn't nerd to net. , lnrf that's a mightii good way to end un nrtwlr on rlrctrio lights. GONE ARE THE BELOVED FRECKLES OF WESLEY BARRY .-,-., T.ti.v. . . lIM'.hI.,M ISAKIU t pet alligator, ,' ' Mickey, swam .torn ml cs a r i roan the c mntry frou .Nrw York a...i., ... i .i .' , Angeles, and thet s some swim for any croeodl'e. True, the ol'iKator made the watery loute inljlie wnshhns,,, of the I'ullmnii .but ncvert.Hr .,, ? am all the way , -ll you don t believe it. nsk e-ley. Wc.s urrned in .o Angeles la .t to I .os i Meek after a four months' nhvmiee He was accompanied bv his mother nnd ".Mickey," his new pet alligator men tioned nbove ami which he bought in Florida while woiklng there with John Barrymore's "The Hidden l''iindlse." "I'll tell the ox-eyed world that I'm rind to be back." evcl.ilmcd Weslev is lie removed n New ik straw hat from Ms head, placed it on the gioiin.l an! kicked it over the fence of tlie depot. "That's what I think of New York nnd New York straw '..its, on I if am one can get me sixteen miles out of Los An?elen ngain the) '11 hao to feed jue chlproform first." is ''jPEKHAl'K 'lie fact that Weslev is VA'&' vrT devoid of all his famous fieckles SittifVHl wimethinc to do with bis lie o-r i3H).' tttli(3 Kast. Weslev Harry, minus Iiih f ..lllfj X41I9V, n Lin i iitiii... .jinn,-, ..." "jf'? ft;cUleH is difficult to imagine, but 'A, that's Jut, what the ninless New York W to llm. However, he's honing that --V MlVf UBJS-T-WUUOUt tUO EJICllsT Ol 11 Gfe D MOVIE GAME SI. NEEliY nlckinz your way carciiiii oer .... light. It's only to show the comparative tniw lint under tl.o 'ri!iforn!n s in 'will restore the famous fin kits to tin lr respective places Among other things, he has grown thrwi indies during his absents -in I now spPiiks with n voire that en Ks with every third word. In his siutenM I'H' r0"fi('r'l t'10'''-' "is neatly pnekeil a ' brand new suit with long trousers. U i "I" probably take a fnv wee,, In f m Wesley Minimum (nougli (ournj ,c(iine rlshr out In public Willi liis ,,nn . ' i,.s" hut he confidentiallv whispered to i his friend that hr was shortly going to ' j-'ivo Marshall Ncilan, his doss, the I ,,hd'1 "f his lif"'" 'ZT?mxt l, would neer make another trnns-auitl- mntal journey with -in .litigator Hal "' 1"',, for the fact tlint tlin con duetor v as an admirer of Wese , wo would surely Have lieen put otf I ho tram the day the alligator got out of his basin and crawled out into the tram for the excitement of the passpngi rs " Within the next few weeks Wesliy will start work for Mi Nelhin m "IVi rod, the Booth Tarkington storv nnd ' R y'r-. n,T ."Li'T ,. "'.' farrro" '" i""a '" "" ) " "' '" , 'nm,rn and also played with John ' j,,7mo,r,e ln1.tl".Neilnn I Hidden I'aradii-e. picture, "'llic i Studio Modiste Is a Busy Lacjy Sophie Wnchncr, Cioldwyn modiste, has just finished her annual inventnrv and finds that last jenr she made a suit for u , arcirow. ballet skirts for horses, a bed for n mouse, kid cur'ers for a doll, n cover for a doll's hot water bottle and a jacket for n dog, in addition to the dozens of spectacular and won derful sowns worn by actresses, aily Movie Magazine TS JT'LL GF The LOVE STORY MOVIE STAR CONTINUED ritOM YESTEUDAY J " l 1f,', ' " cliildisli nougli t: '' thoroughly delighted ; vain enough "' feel that I "Ollld stand there listen- i .M ..i 1 wns cliildisli nougli to '"j '',', ,!',''m f"r,'Vl''': "'vl'11 ' """h l0 feel the tears cr-udiuit in m eyes. l lit ut) riy li.iud ngain to top It. Kinally, a tall gentleman, the presi dent of the association, came up and tool; nis place lirMde me. and put up Ins liriiid, os if he were about to make a speech. At nn i a leni'irkuoiP silence fell rn that great crowd. It was as if the excited air lind changed into u vacuum, imply nnil thiobbinif, "I-ndi"s ami gentlemen," ho begun, "win haw wtpl Miss Mori'lnnd tlie "lien f i lie Movies. In token of which the association presents her with this ;,,,i i ,. H A I. I lie i. line nnd iiiiinpil il on me . I i- '&Mmm? 4zm;Mw itiMMm I,H1KIEV IhsWVJ , 'W:r'm?t: Tmi "iltp i i I ' HTiiiillWIIIII Ihb :'-ltwAiwil CTBJ3kMJTviWW)aliigSBWBK.ro3B 9ft 'rTliBBKHWUr 1 ffiyaSlWn 7rTiiSfoiTOndnBire rrrt,M 'i R fm v mXvl SBJS Xm r kff lira Is3 . . . I I I ".Willi:" thev shouted once again , had been there nt the same time that : I Mj lieait overflowed. I, ton, made. was. They both came up to me with as if to speak. Anil once more tlieic i evtry mnrk of eagerness most unlike was that intense, unthinkable silence. ! the old days when I was despised, after s-o still was it that I did not have to i I had made my great failure in "Step lift mv voice. I ping-Stones." Ihey simply lavished Trienils," I said, "for you nro flattery upon me! I turned the conver friends, I can only bay that Nclla's I sation to their own woik. heart is in her mouth tonight, so that i "And what sort of pictures nre you .she cnnnit speak '." I doing now?" I nsked. This brought down tho house. And . Thev told me nil nhout it. They I had io".iut every word of it. 'were doing n wonderful picture of river Then the bnnd started up n maich. ' pirates. And on the following Tucs and the president took my hand, and lny. if the weather were fair, they two little pages spnini; up fi"i no- would nil be up at the north end of where to cum my train, nnd we went Manhattan Island, along the Ilud.son, ilc.un nn to tho lloor. 'Ihe grand in. in h taking the big scene, formed .ind I led it. Next Tuesday! I would remember WESLEY I I ' SrBijfinBHBEHH? imtrrWM jBpw&msm .. slwiKMKSBsWKtff&WKHKKBmKBKsKaMBfw -i't& tlHoWniilH tiwmii09mFmKMfc J,. W k KfaLMEM Will! ib wfv9f- i iMXMBMSieBtfoSZti ,t. .j. tut? :ciam.3t!!ri mwifc,xfmA Wcidcy Hurry is (rowliiB up. lie is lowliig his frecklua and about to emerge in hit tirut Jong troiiKTH, but before he doea his friends want to remember him as an "honest-to-goodness-he-boy." He will bt "1'cnrod" In bis new" picture , yOC SCWE DM OF WHAT THE LIGHTS IN A STUDIO LOOK LIKE "V3i-mi it wns fvor there was such n 1. ., ..t.n1.n l...,l U1. ... fint- ' i..1 1. U 1,. 1..1. ..n1!nA..nn lOOIIMl Ui 1L auiIilUJ"-ViiJlIl fiuill-uilivil weie n coiled to save tnc from being mobbed. There! I have written it nil down as candidly and naively a.s n child! Hut you will understand, Annette, thnt I fuel humble, too. in n way, I do not feel that I deserve it. I am not ns egotistic..', ns I vounrt. Kcally, not! Hut it is good to et it nil down on paper, it least ; certainly bettor than running: around telling it to people. Hut thnt was not nil. Later, with 1 I my train pinned up. 1 darned. The dance oer, wlille my partner ami i were walking 'Powly over to our seats. I passed Holand Welles, lie gave me a keen look. Hut I lifted my chin high lik? a very silly creature, 1 fear and passe I on without ii sign of recog nition. lie "oulcl not strike nt mv happiness nt that moment. Hut 1 have been won dering ever since whether it was that f was so intoxicnted with the ovation that I had just received, or whether it was that there really had been n change in me. I wonder? "I shall put it to the test," 1 told TllVM'lf. I It so tinpponcii tnnt l met two ot tnc I cirls of Hollllld's company gills who BARRY AS KID WILL LIVE thnt. Wo have n picture with u wntcr I L.xmn, til If rIYl llit UtlfO WO ll ml I iilnmiml , i ctWrn It flntt'tt nt flin nfimtl jmiiiiJi-t 1 -j turn it, vim iii vts- ws,...... Hut I knew thnt 1 could pentunde II to take it on the Hudson in steady. Then, by seeming accident, I enn meet him and see for myself. It is a risk. Oh, It is n great risk. Perhaps I won't do it, after nil. Still, It is better to know once for all than to continue to live in this uncertainty. Knojigh for tonight, Annette. I am thinking o( you as much as of myself, Itut 1 have a scheme. H"ptember 20, I met Holand today. As we ay in melodrama: "The deed Is done!" It hns been u sparkling September day ; blue and vigorous, w ith nil the world shining brightly. It seemed good just to be nlive and breathe this in vigorating nlr. 1 enmo to the studio very early for me. It was hardly U o'clock. I was humming a little song, nnd humming softly to myself, I ran up the Iron steps to 11 h room, lie was, of course, already at work, buried in his papers. "Oh, Monsieur le Uireeteur!" 1 enlled in. "Mny the humblest of jour servants enter?" lie turned brightly; smiling nt me. "Whatever the Oiiem commands!' I came in and sat down beside the desk. "Hut you nre in n spnrkling mood this spnrkling day ! ' he laughed. We looked at each other in silence. My heart went out to him. "You've been nwfully good to me," I said under my breatii. He smiled a little sadly. "I couldn't help it If I hnvc been." I felt n queer pang in my heart. I hastened to chnnge the current of his thoughts. "You must grant me n special favor today!" "Cirauted In advance." "Iiut you don't ccu know what it is!" "It's something jou want, isn't it? IN MARBLE HERE is a group of pictures which show different kinds of lights uhccI in n modern movie studio. They nre all explained in the article nt the be ginning of this page. "Yes: I want you to take the picture ntong tho Hudson, in place of going down to the seaside." "Oh, that? But why?" . "Bccnuse I want it," I pouted. He smiled curiously. "Granted, ns I have already said. Hut you're very mysterious." I rose. I went ns far ns tho door, then turned bnck a second. "Up to misdiief. master!" . And away I went. But all my feeling of gnyety faded ns the morning advanced. I began to chide mvself for tnklng such n needless risk. And. somehow. It all seemed so unfair to H . And vet I hnd no thought of being renlly disloyal to him! The barometer of my mind changed to "cloudy nnd unsettled," 1 was more thnn troubled. 'c took the nutomobllo through the eitv to the little wharves along the upper end. All nbout us were tiny bonthouses, with laundics nnd motor boats, and little snilbonts. Th wnters were spnrkling nnd blue. The I'nlisndes, in the distance, stood shnrp and grcen-frlngnl over their rusty clifls : tlinse same ciuih wnrru jvoiuiiu nnd I hnd had our brief dream of love on that day of nutiimn ! I stood gazing out over tho waters. And tnc tines ot memory surged up into my heart and darkened it! Then, searching the scene nbout me I looked to sec some sign of the rival motion-picture company. But there wns nothing to be seen. I wns both re lieved nnd disappointed. I tried to put to one side all thought but of the work In hand. We set to. It took us less thnn nn hour. Then II nnd I step ped out of the little motorboat on to the wharf. We were about ready to go back to the studio. Hut still I lingered, searching for some excuse. "Put those things In your vnllsc, plense," 1 said to II . I gave him the wallet nnd package m papers 1 had been carrying in the scene. He snt down on one of the little posts that bordered the wharf, nnd opened his valine to put them in. At thnt moment nn nutomobile drew up at the end of the wharf, nnd Holand leaped out. Looking about, he saw in. lie came forward with his well-remembered swinging stride. Ills manner wns ns nonchalant ns ever. He called to "Hello! Why. Nella!" (CONTINUED MONDAY) FIMTOrLAYS HOTDPlttl, COMAJlV f APm I C B2D ft TIIOMPBOM ST8. rVi sJL.UwJ MATINEH DAILT AM,T,Il CAT n .. "WOMEN WHO WAIT" AKV-AU1A in A m. to 11:18 P. M. COSMOPOLITAN I'HOIILTTION "A WILD GOOSE" MOIVJIx matinee hait.t SHIRLEY MASON In "Till: MOTIlim llKATtT" BALTIMOREr?vKToo,.,As,ATT,:X,T' EARLE WILLIAMS in "Tin: sii.vnt cask," DCMM I14T11 ANU WOOULANU AVE. CHIMIN MATINEH tlAILV WALLACE REID In "TIIO Ml'f'II KPKKII" BLUEBIRD UronU & aumuttsinM rntlniiAi ? until 11 i ETHEL CLAYTON III "SHAM" r'APITTM T-' MAIIKKT ST. V..-M 1 1 UIj in r " UilS P. M. ALICE BRADY In "I.ITTI.i: ITALY" COLONIAL a,Bs-a!l. TTv am." CONSTANCE TALMADGE In "l N(il'.ll0rH lll'HINKS.S" DARBY THEATRE JAMl'.S UIllKWOtll) In Mnrnlil Nfllnn's "Bob Hampton of Placer" FTIVIPRPQC MAIN HT., MANATUNIS llVlI lWJ MsTINRII DAtf.T THOMAS MEIGHAN In "WIIITK AMI I NaiAHUIKD" Fa Mil Y TiirjATnn ian Mrut oi. I A1V11L. I H A. M. TO MIDNIIlIlr 1UTK MAVNINO nnd IIIO CAST In "THE WINDING TRAIL" 56TH ST THEATHE lldow Hprur MATINEK UA1LT JACKIE COOGAN In "I'Kt'K'H I1AI) HOY" FRANKFORD iUa "WP"0 AI,USTn CAST In "IF WOMEN ONLY KNEW" P.I PlRF 601 MAItKET HTi SPIXIAI, CNT In " "THEJSREAT LOVER" P.DAMT l: U1KA1ID AVE. MATlMirm hlnv In "SACHJU) AND PIIOFANE LOVE" Daily Tabloid Talts to Fans on By JOHN ERIEKSON ' Over-Acting Is Fatal The authors of this series are ihe famous Emertoit and Loos, tcho have torlttcn some of tfic most successful photoplays. They now have full charge of all scenarios for Constance 1 almadgc. MOTIOX-riCTl'ItE acting Is n highly developed nrt. with n tech nique quite as involved as thnt of the legitimate stnjft; The fundamental principle to remem ber in undertaking screen nctlng is thnt the enmera demands far greater realism on tho part of tho uctor than tho eyes of nn audience. On the stage it Is neccsary to over draw the character in order to convey n realistic Impression to the audience; exact naturalism on the stage would appear as uureul ns an unrouged face under a spotlight. The camera, however, demands nb solute realism. Actor must net as nat urally and ns leisurely us thev would in their own homes. Their expressions must oc no more pronounced than tliey would bo in real life. Above nil. they must be absolutely unconscious of the existence of tiio camera. Any deviation from this courscvlcnd to the most mortifying results on the screen. The face, enlnrged many times life size, becomes clearly that of an actor, rather than a real character. The assumed expression of hnte or fear which would seem so naturnl on tho stngo Is merely grotesque in the film. Unless the actor Is really-thinking the tilings ho is trying to portray on the screen, the audience becomes instantly aware thnt something is wrong. In the snmc way the camera picks up and accentuates every motion on the part of the actor. An unnecessary ges- HOLLYWOOD AGAIN WAKES UP; STUDIOS HUM WITH ACTION By CONSTANCE PALMEH Hollywood, Calif. IT IS n relief to see n big studio re opened and humming with activity. Robertson -Cole has this week flung wide its doors ngain. Inside it looks and sounds like n happy, busy beehive. I'll admit things have been dull, but I'll not admit that they're going to continue so. I feel that the weight of gloom is lifting, nnd everything will soon be better nnd steadier thnn ever. And you may just expect to hear me "all's well with the world" -ing from now on. Avnunt, calamity ! Life's too long. Pauline Frederick is to start n new picture in about a week. She has just returned from Cheyenne, personal np penrancing, I believe, nnd looks very sunburned nnd healthy. Every one sings paeans of praise to her, so just as soon as possible, I'm going to meet her. Yesterday I visited her new dressing rooms. Having onjy the most cool bow ing acquaintance with periods, I hesi tate to tell you they arc decorated in Renaissance fashion. I can grnsp it in literature, but (turned if I can in fur niture! In the dressing room proper there is very little furniture. One wall is lined with long mirrors nnd the other with the doors to the wardrobe. A long, low dressing table stands under the win dows. I imagine the rest of the snncc is used for "Polly" to see if her dress is hanging nil right. Little Doris May hns started on her first starring picture. The working title Is "Young Ideas." I think it's very clever, nnd hope they don't change it. Next week three new companies nre starting, Sessuo Haynkawa begins n picture with tho temporary title "In the Street of the Flying Dragon"; Miss Frederick who, by the way. Is not going on the stnge stnrts "The Lure of Jnde," nnd Louis Gasnier begins nn nll-stnr production, ndnpted from the novel, "Mnmsellc Jo," by Harriet P. Comstock. I T SEEMS as it Betty Compson's pic ture, the "Woman in the Case, would go on forever, icatorduy I watched Cleo Ridglcy do nn intensely VIIOTOPLAVM The following theatres obtain their pictures through the STANLEY 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. GREAT NORTHERN Ilrond St. at Erl S. 7 A 0 P. M l PAULINE FREDERICK In "IIOADS OP DKSTINV" IMPFRTAI UOTn WALNUT ST3. nvii trI-Yl, t,iatl, 2.a(, i:vg, 7 a j KATHERINE MacDONALD In "MV LADVH LATC'IIKP.Y" Lf1irVi Pnlir-n Qermantown Ave. n4 WALLACE REID , In "TOO MI'C'H SPUKI I O VERBROOKoaD a uKVcuhTiD AU-STAK CAST In The Revenge of Tarzan" PAI AfP 1-J MAIIKET HT11EB7T V.C!ryc lf A m. to ii m p m ROSCOE (Fatty) ARBUCKLE In "CliA.Y TO 5IAHIIY" PRINPF5 10,s MAIIKET STIlttKT I 1I11VLJJ g 30 A j, t0 jj.jjj j, jj TOM MIX jn "A IIIO TOWN lUH'NIM'P" RFCiFNT MAIIKET ST. ll.iow 17TH DOUGLAS MacLEAN In "ONK A ,M I N V T K" RIAI TO OERMANTOWN AVE.NUH ' XI"1- 1 V AT TUM'EIIOCKKN HT. WALLACE REID In "TOO MI'CII SIT.KII" RURY "AltKET faT. 11ELOW 7TII llAltl,i:V KNOI.I, N PltOlll'tTION "CARNIVAL" SAVOY :2U WIIICBT BTnEET MACK HKNNKTT'H PKODITTION "HOME TALENT" iciiir SHRRWnOn ?. 4 HaHlmor. A. WALLACE REID III "TOO MICH HPKI'.II" STANLEY M.lr MAIIKET AT 1UTU 11 A M In 11 If. II f iii-nt,iiw u.irii in "Don't Neglect Your Wife" 333 MARKET "tiu:i:t theatkic EUGENE O'BRIEN In "H OKI, US APAHT" VICTORIA MAKBT HT. Ab, TH V IV 1 Jilt o A. M lo llilj p. U, AJ.URTAB CAHT In "WET GOLD" ft Breaking Into the Movies ant! ANITA COOS Before Movie Camera turc is not noticed mi ti,n .... - j. tho screen, enlnrged majiy tlm?. ii0,a ( instantly noted. H ' . rpHE two most important rules to A. follow, tlien, in inotlon-nlctiir. ... ' mg nre: Act n you would under k. same clrcumstanccH n rcni 1 f r ,,h5 cl mlnato nil movement .i '" V. TF l "' u?J!Tr"'t K.tm". i.iiivn ,iuV iivnr on me rcene It T better not to move, nt oil i... . ." .' n fnlse move. "" 10 m Ileginners imist n.ljust their walk I, he enmern. There is nn r,ile twhW however, ns everv lmlii.i.i...ii. . lnl"i stnndlng nnd irnlklntt Is different nn, ' through reiienteil tet n., 1.. 1 ' ,"nl? discover nnd correct the defepti ' nre sure to appear in his physrnt JI.. 'J me nrst timejy nets befbre n earner. Often in making n picture. t,0ti' tor will ins met JiU cast t mo ' . or "slow down" their scene. 3nlnp, j ines. nlso. he will niter the tempo of tho scene by slowing down or speck. up the rate nt which the ciwH ':.K ,"?"?" "'5,?.nM" .'. folio. mini 1111-11 iiL'liuiin III nip ipltpi f- 11. timing of n scene is a vltnlly iinnortant :l pnrt of picture prodiietlon andad.it. I which is entirely m the hands of tk. director, ,, l' The best way to lenrn the principle! of mot on picture nctlng is to witch tlic making of as ninny scenes ni no. slide before attempting to net one. M08t of the Rtnrs of today learned their art by watching the efforts of others befori the camera. (These "Tabloid Talks" are con. densed from Ihe material for n book by Mi: Emerson and Hiss Loos to U published hu the James A. UcCa Company; NV.o l'orfcj THE CONFESSIONS OF A STAR AS TOLD TO INEZ KLUMPH Who but A STAR WHO HA8 LIVED THIS LIFE HERSELF? Love, jenlousy, nmbitlon, the sordid contrasting with the spiritual nnd ideal, vice rubbing elbows lth clear, clean living in the studios all these combine to make the story The Most Gripping Novel You Have Read in Years It begins on this pngc next Tues day. emotional scene. She will be remem bered ns Wnllio Reld's lending wonun in many of his older pictures. Earlier in the story she hnd killed a man Casson Ferguson, to be exact and in order to frighten her into n confessloa they had laid a skeleton in the exact spot nnd position in which she had last seen her victim. Miss Rldgley entered completely into her scene, not .relaxing even between shots. As I watched her she held her mood through the tedium of "fixing the lights." This is quite unusuul. As your "close-ups" man so amusingly pointed nut in a recent nrticle, directly the enmern had stopped grinding on a bUj scene he saw, the actress looked up it the skylight and said, "My goodnesi, it's raining!" My cnglc eye wns fixed firmly oi May MacAvoy and Eddie Sutherland when he enme over to her set yesterday to visit. I hnd hoped to have some thing definite to report to jou in the way of news of the engngenient. but un fortunately two more casual young per sons I never snw. But maybe that's I worse symptom thnn nny other! She is just finishing "The Happr Ending." They're having n lot of fun in these scenes. Her two country uncles come to the city the usual bunkum hut somehow Charlie O< and Guy Oliver seem to work wonder fully together. I hope it's not n bad sign to have nctors laugh, because some times they have to stop shooting till things quiet down. All together now let's say, "Xo more gloom No more hard timet I Vhnfs the mutter with us? We're all right !"r ri!OTOPIYS MOTIH'Iirr TMMii concur r a OfAMimc, fftThc NIXON-NIRDLlNGERfffc U THEATRES U I3H11V1U1N 1 "..:,0 1(nJ 0:,10 (0 ii r. jr. TOM MOORE In "JIOL1I YOLK IIOHhUH" PPHAR ""TH ft CEDAH AVBOT1 V-I.L-f aiao anA 30 ,0 j, p k. EDITH STORY In "TII;i;.t'II 01'' DltEAMS" COI ISFI IM rkt bet. coin eo sUL13LUIVI o 30 nn,i fl.30 to 11 WALLACE REID In "THE I.OVB "PECIAI." JUMBO rno.NT st & amAiiD av Junihn June, on JrnnKinra - THOMAS MEIGHAN In "THE CITY OI SILENT MEN" I FAHFD tfl' A l.AMJAHTKM AV L.IL.A1JE.K. MATINEE DAILT SPECIAL CAST In "THE WILD GOOSE" I On KT f'2I l.(X't'SI' TEET LULUOl Mat j no. a 80 En. 1130 toll WALLACE REID In "TOO Jil'CII SPEED" RIVOLI 5-'L ANU m'VtIne.a.lT OWEN MOORE in "A iiivoiici: or conm:mece" STRAND UEIIMANTOWN AVB. at venanuo !tkk DOROTHY DALTON In "IJI'.HI.M) MAhKV AT OTHER THEATRES MEMBERS OF M.P.T.O.A. C , i. 0310 OcrmnnlowTi . 'h v-KJI JUUlUUWll MATI.Nts ""'" tl May Allison In "Extravagance I.AUUY SKJION In "THE I'AlX "v IEFFERSON 0,lUTt.s.u?u,i ETHEL CLAYTON in "Sham ( hunter XVI. "The Willie nur.r....- DARk' "IDQU AVE. ft DAUJ'HW ; THOMAS MEIGHAN j-1 la 'WIIITK ANliVNMABHIKP ' .-., i- jt-if,. 4vi :. nil .--, hv ,.iHi;k't wjyaix I
Significant historical Pennsylvania newspapers