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EYENmoyPUBBIO EED0ErPHIIiADELPHIA, SATUEt)A!Yf AUGUST .27, 1921
13
,i
Daily Movie Magazine
CLOSE-UPS of the MOVIE GAME
Uy HENItY M. NEELY
How They Stage a Family Quarrel Scene for the Movies
JtJST for n moment, let's suppose we nre in ur fnvorlte movie house nround
the corner, watching one of those tense scenes between father and daughter
(hit threaten to uplll all the beans nnd spoil the .whole love affair. You've seen
lots of them In the movies.
There's been a .voting man In a preen necktie nnd a flivver coming around
tt.v much every -Wednesday and Saturday nights taking daughter out here
ind there especially there and papa doesn't Ilka it and doesn't propose to
ittnd for It nny longer. He knows n chap just this side of sixty who wears
white spats and Hltzes it in a Holes-Rush with another monogram painted on
tht doors since he bought It second-hand.
So papa proposes to give Gasoline Qus the gate and Add the monogram to
tit family coat of arms. That's the story, -or at least the part of It I want to
ttk about today.
We see what they call n medium long shot of papa nnd daughter seated
r the piano where daughtet has been dreamily playing the "Maiden's Prayer,"
r else jazzing the aria from "Samson nnd Delilah" for a one-step or a fox-trot
uhlle she waits for Ous.
Kntcr papa : music stops. Business of daughter pretending she isn't n
bit mad at pater coming in just them. I'apa sits down on chair near piano
bnch with "daughter, come hither; I wouldst speech with thou" atmosphere.
pmhter comes hither nnd nrtlon begins.
We see it all in this medium long shot that is, the camera is juBt far
tnoogh away to show tlie full ligures with n corner of tne kcyboaru nnd tne
chairs and the lanu. on the fable or the floor or wherever they happen to hong
lamps In that house.
We see the talkfest start. A couple of titles flash on the screen to establish
thtfnct that It Isn't n happy family reunion nnd then we get a close-up of father
fitting all het tip as he thinks of that monogram. Then ue get n close-up of
dtughtcr, and the boob two senta behind us reads us the title that gives us
daughter's Indignant comeback nnd her lojnl defense of Gasoline Gus.
ASK nine fans out of ten how a scene like this is made nnd they
A tcitl tell you that they have an impression the. camera teas placed
thirty or more feet away for the start of it, then moved up close in
front of'papa while he spoke his piece, then over to daughter while she
tpole hers and so back and forth, taking a hit from each Icoation
until the scene was finished.
NOT a bit like it. If they did, It would take them nil day to do it. Kvery
time they moved the ramcrn, they would have to readjust everything nnd
rearrange all the lights.
Now let's Imagine ourselves In the studio watching that scene being taken.
Maybe it will mean visit-, on seeml dnjs; you never can tell in the movie
busings.
You will find on this pare several photographs that I had taken over in the
big Fox studios in New Yotk to illustrate this little explanation for ou. I
happened to be wandering about in there one day while n scene almost like
this suppositious one was being shot nnd, next day. came In just ns they were
making the close-up of I'eggj Shnw in the daughter's pnrt.
Maybe jou reincinbeV that I've raved a good deal over this little Peggy
Shaw, but that had nothing tc do with my going to the studio on these two dajs.
Honest. That's my storj nnd I'll stick to it.
Now. with the perverse lurk that hangs nbout a movie studio, It inny be
that the big s& Isn't quite ready for the long shot ou sec in the top picture.
Let us suppose that it isn't; the furniture nnd the hide walls still need a lot of
work on them.
Daesu't matter. It requires more than that to delay n director. He sees
that Peggy is ready for work. So he has the big bank of Cooper-Hewitts
brought up close to the chair she's to sit In, him nn ashcan ns they call a lunall
spotlight aimed to hit her from the other side, calls her over and they sit down
while the cameramnn attends to his cud of the bushier.
7 HIS is uhcre the dhrctor has to piovc his versatility. The man who
plays papa may be off fishing for the day, but he isn't teally needed.
The diiector takes Ait part and can get away with it because the camera
isn't photographing him at all. Hut the director has got to work up
to it pretty stionyly when the emotion begins to yet tense. If he
didn't, it would be doubly hard for-l'eygy to yet just what was wanted.
QtEARLK DAWLIiY was the director in this cafe. I don't know the exact
story, but we can easily imagine the scene for the sake of illustration.
Father starts the com creation with, "IVggins, is thnt joung Gasoline Gus
coming around here ngaln tonight?" And Peggy, getting flustered nnd self
conscious, nods a bashful ndniUslon that, to the best of her knowledge nnd
belief, Gus is. Then father begins to boil. He blurts out, "I won't have it, I
tell juli! He's n scoun-drel."
That makes Peggy mad gee ! jou ought to see how pretty Peggy Shaw is
nhtn she looks mad! and she flnmcs up iudignnutly at father and begins to
breathestnecatn, which is a musical term meaning one cylinder missing. "No,
father." she cris, "Gus Is not n xcotindrcl."
Hut father knows better and, besides., he knows the toff with the monogram,
"lou must give him up." lie thundeis. "I forbid you to see him ngaln." And
P'fgy, after n sufliclent time to register her tornado of emotion, cries, "No;
J Kill never gie him up. 1 will leae jou forever." Then they b'oth spring
to their feet and that's enough ns fur ns this explanation is concerned.
Now, let's see how they tnke it. The set isn't ready; father is nway fishing.
Ro Peggy nnd Daw ley get as close to the Cooper-Hewitt's ns they can without
Peggy's ninke-up melting nnd Dnwley explains the whole situation to her.
Thcj go thiough it nil while the cainern grinds within nbout four feet of
"ggy's pretty fnce. Dnv. lej speaks the father's lines nnd tries to net savage.
Peggy comes back at him encli time until she finally springs to licr feet nnd it's
all over. They tnke it maybe two or three times so as to be sure they've got
it and then go nbout something else. Hut, each time they have taken that
ne, n joung innn, who hopes to be n director himself some day, goes out in
front of the camera nnd holds up n slate containing the number of the scene nnd
w cameraman photographs this, too. Let's imagine this Is number 1LM).
Next day father comes back with the fish he has bought and they put him
through his pnrt of the close-ups, with Dnwley acting in place of Peggv, who
naj gone shnppjng. This shot limy be numbered l.'il.
And then the next day the set is ready and they go through the whole
Mneulth thp cainern thlrtv or fort feet away. Both Peggy and fnther must
M there and Dnwlej sits down with them before they shoot, explains It nil,
I. Tt. i. . . "" ' ' "" " """ """ ! i"" ur iiiit-K nines.
Jv-litn it is hhnt. Ma.vbe it is nuinbei Kill.
i&i Meanwhile, nil the things they nie to say are being lettered In white on
V'fk CDldbonrds ill lllP Hill. ilnlinrMne.it nnrl n ro lioltiw nlint. .... rtl.o.l
Bfate Btr n of film. l'nnli Hfln linn a llMln .,.,,!,.. ,!, I ...
Identify it. turner 10
1 hlS nil HIinilKl firm liiciu o nrl uliniuilnco nr.it tin nlmin -A Ja.m, I i. 1 T .
! "" -! "'iiiinri ((Jilt nmijn lion (liJil nil Uli4Atii W UUl'nil t 11, J.UC
' Kn,llcn'l and made conseeiitlte nnd coherent.
Thev take shot No. (iil mid cut off nil up 'to where father nsks if Gus is
wmlng. They cut those v.ordu from the strip of titles nnd paste them to this
nrst strip of 109. Then they cut another bit from No. f!9 to establish the
"-"P in niiicu it is snm
HERE IS THE WHOLE PROCESS OF FILMING-A QUARREL BETWEEN PEGGY AND HER FATHER
THESE pictures, taken in the Fox
studios, especially for renders of
the Dally. Movie Magazine, illustrate
the method by which they film n dra
matic scene between two people.
In the big picture, jou see the gen
eral nppenrancc of the set In the studio.
In the distance, the director, Senrle
Dawlcy, is seated with Peggy Shaw
nnd the man who iilnys the part of her
fiithcr. Peggy nnil pnpn nre to have n
violent quarrel over Peggy's ntlcctions
for the handsome hero.
Another picture shows a nearer view
of them, with Dawley Illustrating the
cirxtlons they ,nrc supposed to portray.
The third photograph shows one of
tl.u close-ups b'clng tnken with Peggy
in front of the cainern nnd Dawley
speaking the father's lines out of rnnge
of the lens.
The nrticlc n't the beginning of the
tnge explains the whole process and
how the shots arc afterward gathered
nnd arranged,
TABLOID TALKh
ON BREAKING
INTO MOVIES
Ily JOHN KMKKSON and
ANITA LOOS
. Thei1 "lf,y Pnste on a fen feet of the close-up of Peggy, No. 120 where
blushes nrd nods. Then they attach some of 134, showing father'getting
t up nbout it Then the'j Mick on the title, "I won't have it, etc.," nnd
"other bit of father showing him finishing this speech.
th. .i.1Xt ."i?y ''"' flom 1!l ''"0"K1 ,0 sll0w 1'fBR.v'H oyes flashing, stick on
oe title, -No, futher. etc " nnd then more of ll'O to let her snv it. Then
Im 'f if.mllPr''s rl("it'-"l 1"1 'I"" III1'. "Vou must glo him up," attach thirty
!l. i t'll0"llK I't'KBj'n emotiomil tornado, tack on the title hurling her
uenanee. then back to her ekte-up to let her say it nnd spring to her feet nnd
JUSt as her linml ImiriMu tn . .. ., n. ..:.,!... ,i.,. i i. .. ., . '
l , - f...... h. v in,,. ,,i ,,,,. ,ii imi -, nn-,, h, niiwh iii iniii part of
"'long shot, No. H10, showing both Peggy and fnther rising for the bell to
Urt
VOL fn imagine, from the tiouble it takes to get this little scene
completed, what a job it must bo to finish a big special, production,
I he studio woik isn't to bad; thcie's action and human association and
sometlumi doing eieiy minute. Hut aftcrwaid, when' the cutting and
Bisemhlinq and editing Lcgiui, all the rnmaner gaei from the movies and
i' settles into a steady grind. Vet that's the part that gives vou the
Picture as you see it.
Answers to Questions by Movie Fans
fir 'SI"i,VYI'Ymi ,mis '' Phased
L!T"Ml f'!r J"" '" tipe jour
" , en.l It in th.. fnim of a
for 1 1. """ "'' Mlri '" '""I stamps
SomVii, ,''t"'," '" r'"-" " is ""I accepted,
oometlnies ih, utv not. jou know.
aMil!.'1 (M '.'Tl1' (!,, ""ddens" is
the Tub "' "'"' (,Jp'"8" AlllK I'hlng
neb. ,,1IB pnr mi hnk Np.
""' be n wonderful pin, e. I'll guar-
"new.,, A"k ' n1,'J," Mm,rP Ilb""t her
WpeUi'iieeh oll her ftist Ml
Ill(.1Jf'011),, Mabel .lulleni.e Scolt Is
ma'dp' I,,,Y, NV K1'" e "'0 v,ll"i- hns been
nnue a stnr llnnlet Hnixmmwi fnr.
if Ln,n.Hi "'"' LM" SeimetfH bath
rsfahT11.1.1,?: ,?. " n important
'"Us of Life."
VOIOTHY J.Mary Thurman
wears
her hnir bobbed nnd straight. The style
is n great test of beauty. No one but
an extremely good-looking girl would
dure to wear her hnir In thin fashion.
.She is not married. She is playing with
fatty Arbuckle In "Should n Man
Marry?"
Iliri'TY It Is a fact that Doils May
co-starred with Douglas Muclcan. She
hns recently been married to Wallace
Mnel'Oiinld. Doris Kenjon was horn
in Syiaeiise. N. Y She Is the daughter
ot a Mi thodist minister. Speaking of
ministers, perhaps jou ilid not know
thnt Douglas MncLenii Is also n minis,
ler's son.
COHNHUA .lack Perrlii Is twenty,
three. Hns brown hnir arid ejes, n'nd
Is more thnn six feet tall. He has been
in pictures two jenrs, and is married to
Josephine dill
TEXAS OIRL Harry Carey played
In "Tho Wallop. Prlscllla Dean Is
Mrs. Wheeler Oakman Jp private life.
Her latest plcturo la "Repllfatl9n.,,
-4 -V
!f sir '- ''flHiiiiifaiiiiBHRb?MHHMHHHiiiiiiir jBsiiflLlLiiitHiiBikiiiK' B si
ijiBBBBBBjBBBBBMipjBB''. l ,,$ , i mBIKSKSSStBwKBEMmsyrStAKKtfflM B llliV I gm
m-mmmmammmmKmmmtaammies --lb .wmiVm m nma.z x.
CARMEL MYERS .
TELLS WHAT SHE
THINKS OF HERSELF i
Ry CARMIX MYERS ,
AAHAT do I think about mjself?
Thnt question makes me feel as if
I were on trlnl nnd the Mngistrntc sajs:
"Everything jou sny will, be used
ngqinst jou." I don't know whether be
renlly says that, ns I'c never been
arrested for anjthln; worse than mur
der, nnd thnt was In n motion picture.
Seriously, though, I've been too busy
acting and keeping house to think much
nbout m.vself.
Sometimes I muse nbout the early
days of motion pictures. Do jou
remember how one scene faded into
another so that one saw part of two
scenes nt once? In those dnys wo
worked In little studios thnt would be
lost in the corner of the modern open
frlr stages such ns we hnve at Universal
City
Close-ups were unknown in those
days. Consequently wo had to exag
gerate emotions so they would register
at a distance. Repression was not in
the vocabulary of the early stars.
Double exposures had not been in
vented or discovered.
Little attention wns paid to accuracy
in dress or furniture. Frequently we'd
go in n door wearing n white dress nnd
come out the other side attired in nn
evening dress. The funny part of it
was thnt the audiences did not seem
to notice these criors for n long time.
Now, however, picture-making hns
renched a stage where mistakes are most
infrequent. The asslstnnt director
carefully writes down what every
plnjer Is wearing In ench scene in order
to nvold breaks of that sou. Picture
making in the old days was mighty good
fun, but I'm glnd I'm a star now in-
TIIE STORY BEGINS
with the early days in the old Vine
Aits studio in California, when Col
leen Moore, the Uish girls, llcssic
Love and a host of othcis wcie not
much more than cxtia girls, Diana.
Clieynr relates the talc: she begin
with the day in the studio when she
and Isabel Heath, not stars then ns
they ure now, were sitting on the
stairs when a strange man came into
the studio and looked at them. The
eamciaman called them down to
meet him, and it proved the turn
till pom in Isabel's life. He was
Phil Craney, a famous director from
the eastern studios, and he taught
Isabel to be the first of the scieen s
"laby lamps," and cngancd her for
such a part in ; photoplay he was
producing.
NOW GO ON WITH THE STORY
stead of then, becnuse one Is given
gicuter opportunities today. 1 think
the acting has improed along with the
direction. The stories, too, arc better
now.
I think I nm fortunate to be nble lo
have been connected with the growth of
this great industrj the fourth largest
in the United Stntes and want to do
iiiv best to keep mv ninny friends' nnd
"fans" pleased. I think the movies
nru the happiest career I could have
chosen, not counting, of course, marriage.
CONFESSIONS
OF A STAR
As Told to
INEZ KLUMPH
One of Nevada's Pretty Girls
Lillian Davidson, who wns voted one
of tho nine prettiest girls In Nevada
nnd who thereby qualified as one of
Vloln Dana's maids of honor when the
little Metro htnr was Queen of tho Reno
Hound-up, wns Miss Dann's guest of
CHAPTER V
"PERRY nnd I had planned to go to
'-' the movies that night; they hnve a
terrible grip on you when you're in
them, jou know; I suppose It's like the
fascination the scene of his crime has
for a inurdcier.
But when I got home I found n mes
sage from Isabel waiting for me. It
said thnt she needed me terribly, nnd
wouldn't I come over thnt evening.
"Why not go to sec her right nftcr
dinner, nnd I'll stop there for you nnd
take you to the second show?" Dcrry
suggested, when I told him. So we nr
rnnged to do that and I went over to
Isabel's as soon as I could.
She wus in the living room her ej;cs
hadn't been burned at nil, of courso
nnd when I came in she clutched me
with both hands.
"Dl, I'm in such a mess!" she cried,
nnd she renlly looked as if she were
terribly frightened. "I went motoring
last night with Phil Craney, and we
stopped for supper aim had u blow-out
on the way home, and well.unjwny,
we didn't get home till late.
"And this morning who do jou sup
pose appeared on the scene? Ills wife!"
"But wcie sou coiug to marry Mm,
or what is It that makes that m awful''
honor at llolljwood during the filming
of "The Fouitcenth Lover." Miss You shouldn't have gone, of course, but
Davidson had been somewhat scornful " " i'M"aIned to her- -
of motion pictures, but the studio ut- . 01'. 1 don t know whether I was
innsnlinro .nmnletelv nnntivntni lwr. going to marry him or not. He wants
Now she Is waiting to sign n contract l0 ? , ,l divorce she's never nder-
to nnpear on tho screen. I am one
of those who camo to scoff nnd who
remain to play," says Miss Davidson.
MAE MINUS MOVIE MAKE-UP
1 1 1 'WfiWpsTm mHHHWMBPi im - HiHyy.vvv7 ft W '
KkiHBMHHHHiKflfX F-MHK 1 tin ;-
iBllM mSBr f 7w f m
mBSSMM:fM'W?irM&tiWi!i:i ' ' 1 H 'IBS'
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wmjMMirimmnmm: ::imm
true; thnt ehc hadn't gone out with
Mr. Craney the night before, and that
sho would sue Mrs. Craney for libel if
the story wasn't denied nt once.
"But, Miss Heath, Mrs. Craney has
all the facts," tho young man insisted,
not getting nt nil milled, no mntter how
Isabel stormed. "She saw vou when
jou came home last nlgtit she'savs. She
knows that you and Mr. Craney hnve
been working nt tho studio when there
wns hardly tiny one else there. Come
now- admit it jou did go out with
him Inst night, didn't you?"
I began to get awfully worried. I
Unew thnt Isabel ought not to lie, but
then, she was trjing to save her repu
tation. I could see, though, that her
denials weren't buying the slightest ef
fet on thp reporter. '
What Your Favorite
Film Stars Are Doing
Jnch Holt's first stnrring picture will
be "The Call of the North." an adap
tation of Stewart Edward White's
novel of Alaska, "Conjuror's House."
The screen adaptation will bo made bv
Jack Cunningham and Joseph Hennberv
will direct the picture, which will he
started soon nt the Lnskj studio in
Hollywood.
Betty Compson covers her chestnut
curl with n blond wig in several
scenes in her latest picture, "The
Woman in the Cmo." which is in the
l.o n... : . 4i, , i . 1. - .. lii'"ni umi in IlOllVWOOU.
... i ' ,uu-. W1" 'S,1C r'aveu ncr j.vcn .Mis Common's fe 1 ow nlnvers
an Tt wo ke,in- h WflS ",l ,n,P,rnt,on- hvc a hard time Vccogni.lnVher'X,;
an i ic worked. thev see her "off set" in the wig.
My dear joung man. I inu-t tell
you again thnt I did not go out with I Kenneth Webb, who hns been with
1 nil Craney lust night," she suid with i Vitagrnph, Famous nnd Whitmnn Ben
dlgnity. drawing herself up ns tall ns nrtt, hns been engaged to direct the
the could. "He didn't ask me 1 only i.ew picture on which Pearl White has
wish ho had!" started work nt the William I'ov New
To be continued Monday
lork studios. Mr. Webb's last pie-
l rure was piuvanon .ell, with Pan-
. Mine Mark.
Georoe Loane Tucker's Last Picture Thomas Mclglian's latent picture. "A
The last picture, innde by George Prince There Was." adapted for' the
Lonne Tucker, producer of "Thi fcr,,t,n fro"l L,fEe M. Cohan's popu-
Miracle Man," beforeji.s death was fe"!' Syi'villln.llTt'l'e
Ladies Must Live." with Hetty Charlotte Jackson. Arthur Hull Guv
Compson in the leading role. Oliver nnd I'red Huntley in the Vast."
Clothes Arc Important for Men
In Movies
I'J'he authors nf this series nre the
famous Jlmcrson and Loos, who have
written some of the most successful
photoplays. They now hnve full
charge of all scenarios for Constance
Talmadgc.
THERE is only one drawback to the
plensurnbltsllfc of the motion-picture
actor or nctrcss. They draw big tola
ries; they get their names in the papers
and nro deluged with "fan" letters to
luch nn extent thnt spccinl poslnl de
partments nre Instnllcd in their offices t
the work is interesting nnd the hour
comparatively short. But. ntus! they
have to hnve n lot of clothes.
To bo sure, the buvlng of clothes Is
n most plensiirnble experience to all
WOlnen nnd In mnnt niAn A twl fnrm
sooth, if they drnw big salaries, why
cavil about, the cost of replenishing a
, wardrobe every now and again?
The fnet Is, the wnrdrobes nre not
I replenished every now nnd ngaln; they
I are constantly in u stnte of icplenish
ment. nnd for that reason the average
I actor's bnnk account, no matter how
big the salary, is nlso In constant need
of being slmilnrly replenished.
I. very new scene Is npt to require
completely new gowns and suits, and, in
the case of the nctors who piny the
more important parts, no two suits or
gowns can bo worn in any two pictures
'or the fnns will be sure to discover It
nnd write mandatory letters to the
studio.
In the case of the beginner, how
ever, no such expenses need be met
If he or she has one complete ward
robe to start with. People playing
minor characters mut dress for the
part nt their own cxpeiiT. bui no one
notices or cares whether thej wear the
same clothe with which they recently
graced the studio next door If they
piny a part inquiring n spccinl dress
or uniform the innnngement will sup
ply it without charges.
It is rather difficult for n newcomer
to the film woild to know cvnetly whnt
clothes nre required for his or licr
wnrdrobe. Therefore, we aie Includ
ing the following comments on clothed
and stvles, us applied to motion-picture
work :
MEN should have at Icat two busi
ness ults, oije of which should be
light and the other dark.
Tor summer scenes, white flnnncle,
with n blue conj; and a soft shirt not
a sport shut nre required White
duck shoes complete tins outfit Tweed
suits nre the proper thing for wenr In
the country club seines nnd in most
pietures calling for scenes on English
estates.
Tor dress wenr. three outfits nie nec
essary. There is the titawnj for nfter
noon weddings, socictv teiiH nnd so
forth ; n Tuxedo for club scenes nnd
semi-dress occasions, nnd finally full
dress for balls nnd dinncis, where In
dies nre in the scene. A elnrU four-In-hand
or bow tie. with n stnndup or
wing collar, should be worn with the
cutaway, and regulation dress bow
ties, black with the dinner coat and
white with the dress suit. These
clothes nre nn e-ssentinl pint of a motion-picture
actor's outfit.
Thei great difficulty with young
nctors is the tendency to overdress and
to attempt to hide bad tailoring with
a flnshy design nnd u freak cut of the
cont.
Since clothc are an actor's stock in
trade, he should patronize only the best,
if the most expensive, tailois. nnd stick
to conservative lines unless the 'part re
quires eccentric di easing. Jewelry
should be avoided, unless called for lii
Hie -character ; cuff links nnd n watch
chain nre nil that should be worn, with
the exception of dross studs with the
dinner or dress cont.
(These "Tabloid Talks" are row
denial from the mntnml fo in book
by Mr. Emerson and Miss Loos to be
published by the .fames A. McCann
Company. Vcic Yoil. )
Wardrobe Mistress on Screen
Evn May Roth, wardrobe mistress at
Hollywood. Calif . who dnsiged cos
tunics for all of the Metro productions
in recent jenrs, will make her screen
l.1 ,1" ' ",lu I'nnn' new picture.
The lou rteenth Lover," from ,, story
by Alice I). (J. Miller The storv calls
for a costume designer, mid 'ilnrrv
Beaumont, the director, decided to have
a real one.
riie)Ti)fi.As
PIIOTOI'I.A'V K
I'MOTOPI.AVS
M0)puvJ,
. COMPAN y
OTAMtrilCA
STA
D K THOMPSON STS.
MATIVBU DULY
APOLLO
JACK PICKFORD
in "Tin: mn who ili i:r.uTiuNn"
BEBE DANIELS
in "om; wild wi:i:k
stood him, anyway; she's just stood still
while he went forward but she's jeal
ous of him and snjs she'll sue him for
separation mid tell ubout my being out
with him and if she couldn't hold him
slio ought to let him go and anywiiy 1
was just doing tho things he taught me
to do, and he should have known better
than to fall for them "
"Isabel Heath, you Know perfectly
well that that's an ord story, about
men's wives not understanding them!"
I told her, feeling very old and sophis
ticated. "But if his wife is n sensible
person nt nil she'll Bndei stand that jou
didn't mean to do anything wrong "
"She Isu't hcnsiblc," wailed Isabel.
"And he snys she's mlsundei stood him
before this, when he lust went for a
little joyride and this'il simply kill inn
in pictures if she makes n lot of
tiouble."
Well, I could see that fast enough.
There have always been so many rather
wild people In the motion-picture in
dustry thnt their reputations besmirched
all the lest of us. People would never
forget that Isabel Heath hail nunc be
tween a man and his wife, If this
thing got out as she seemed to think it
would.
The evening paper came as we sat
there talking. And sure enough spread
across the front sheet m big headlines
was the announcement. "Movie Di
iector Jojiidcs with Pretty Star." ' PAPITDI s MAHKirr st
(The sensational papers alwavs call Mrl l U '" " to n is p m
any movie octress u Mar in the head-' Mii.n.VM nn nv " pkodvctiox
lines') , "LIFE"
Well, 1-nbel slmplv rnged when he
I read that story. She stamped nn nnd I POl ONIAI i?VX i M?r';w"0' V"
,1 .I' .1 .,: - ' : ' I HUT U I" M.
Te t0,101 theatres obtain their pictures throutrh the
NLEY Company of America, which is a guarantee o
ear v snowing 01 tne finest nrodnnf inn Acb- n u .n. .
, ., . . "iv iw nm ineatre
in your locality obtaining pictures through the Stanlv
Company of America. "y
a
GREAT NORTHERN TrAX
MM Julienne Srott nnil Al.str r.ist
"Don't Neglect Your Wife"
ARCADIA YT?vZi?Lll IMPERIAL r"I A mt
MAK1IAI.I ni Ns PltOlllt'I'lON
"DINTY"
The NIXON-MRDL1NJLH
THEATRES
BELMONT 5.-", ,tth W ',""1"- '
"THE CONCERT"
ACTHD rHANKUIN i uin.Mtn AVE.
rtOlUri matin rK" nit.Y
PEARL WHITE
n"lll.OM) PJil(J:"
BALTIMORE 1
In
CHARLES RAY
Till: HID S-HIMMIN' noi.r."
DrMM 04 1 11 A.SD VVOUPI VM) AVU.
J3t.lllN rTIvr-i piny
DOROTHY DALTON
inTiittijMii.. nrjriiK iin U"
PI I ICRIRPl BfnJ 'V Sui.rnifhnnii
Dl-iV-,I--Dirv.L-' e nMnuoMs ." until 11
DOROTHY DALTON
In III'.IIIM) VISKS"
, Lehigh Palace """iTh a,.".
THOMAS MEIGHAN
'" "Uiiiti. m i wivmnKiy.
I OVERBROOKwL1lV,..s?l,D
A ML
it,. ,'I-stI e st l
I "THE MAN-TRACKERS"
PALACE
CEDAR C0,,f HiDin AVHNUB
June Nn.nk i ,1" "' '. " " '" " ' M
"KAZAN"
Ciiruood'
COLISEUM 5yi:
1.11 MVPKKT .-TnUKT
i ' .v M tn 11 is p m
MAE MURRAY
in "liu: e.n.Di.i, i.u.j.
THOMAS MEICHAN
In "Till: CONOI INT in tv . ...
- -- ' ti
JL'MBO
iieiwii nie iooiii nun swoie tlint sue el go
to Mrs. Craney nnd mnKe her s.iy the
story was a lie, anil wept mill hteirmed
anil neted as if she'el hist b r iiiinil
"It isn't true nt all. I nut went
for n lilt! ride with him ami I never!
knew till last nluht that he was mar
Ued ami he says that mile's I lmve
expi-rienee 1 e-an't in I ami he never CIVIPR I7?Q MAIN bi MANAU'NIt
ulw. r,..n,l !.. I "- --'' '2 '' ''. I.
.... ....... IIUl
WILLIAM S. HART
in "Tin: wiiihTi.r."
DAR'BY THEATRE
NORMA TALMADGE
lei "Till; PSK)N. ii.owr.if
PRINCESS ?A$?ru -7
WILLIAM S. HART
I in "Tlli:lUj.MtTMVV
i REGENT Muuai 6,T po,7Tm7i
- A M. t,i 1 1 I JI
I MARY MILES MINTER
I '" "T'": lnTIK '
KIAL, 1 U XU'KAOW.V AVE.NUB
IMUIU AT Tl'LPEIltVfN T
TOM MIX
' In " Illlr-IIIMN niUNM-l P"
RUBY MAUKi-"T ST 11KI.OVV-7t1T"
m v .vr tn u is i- xt
rnoNv sr A eimviitj Avk.
Jumho June n Trnnkfir,! T
WILLIAM S. HART
'" "nn; piusiAi. n nr."
LEADER"1 lST UfiicwnTZfc
ma iir.n DAH.Y
THOMAS MEIGHAN
Mil 1 Uicfsi HrnKETs"
'"" "1.1. IIIL.L
Mae .Muira) ami Robert 'A, Leonard "at ho,,,,." I tliolr ne studio.
Vhv"- .L? rfl,,,r m;",B ,,,,el,""lrt,th " 8 !'" that "IVaeotl
Allev. theli Hist Inilepeiiilfnt iiieturo. was made. The star helneel
Mr. Leonard In the dl.eetlon. designed her own .'ostumen and e 1 2
effects- nml assisted In working over the story. In private life thuse
t&o ate Mr. and Sir.. Hob Leonard and live In the Hotel dcsArtlstcs
In New York
even hele m.v ham
just beenusi' she has nil those edilldren
of course publle Njinpath will be with
hit nnil mi inline win ue mud.
"Inblie (.vinpnthy ought to be with
her, I answered. "Anj woman who's
tiiKeii lu elroshinnKInc to heln n , t,.
, get along, and hat brought up three
I'liiuireii nun none all the other things
she savK she has, might to have piupi,.
Hiiipiitl)ie with her I'm -urn for
.ou mid I'll elo all 1 ran to heln i,.
I get out of this sernpe "
.lust then souiehoili musr ih., l,..n i
before l eould say hj10 wasn't at home ' i
n imiiii mil tt i.tii,,.. t. li .. I ,n
be nlee enough, and Isabel nut down
and smoothed her hair ami was nwfulli
ilvil to him at tlrst. Then she blew
up for he nuiiouiiced that he was n
reporter from the paper that hnd run
that story. "
Sh9 InslHtcd that the story wasn't
DOROTHY DALTON
in "Tin: nun. eir Tin. Noimi"
PAMII Y THi:ATni: -iau uirkt hi
r-Mviiiii k vr to MiDNioin
.ll.l-IAll I 1ST 1
' - SAVOY
LOCUST
HAROLD LLOYD in "I Dn
i,nj!Lin:?in"omn r""1 ihd-.
RIVOLI "D ASU "vNsojim"
ALICE BRADY rrn:;
-!'L:' 1MI OP IKIIT." STRAND UEKMASTOVVN AVEL
l.'U M VIIKU f STIICCT Will t A V o . . NtI? "TItBOT
OUT'
v M To MiiiNMnitT
CONSTANCE TALMADGE
111 "I I.smiss S () ..
WILLIAM S. HART
in "iiik limsi'M:"
eiTTL.- Li i u.. r ii i
veH,.r . ' SHERWOOD
JOin Ol. VVT'NKIJ DAILY I
TOM MOORE
In lfl"ll ll lll If If llt wftt. '
F?D a Mirnon i7i5i-iiAMiwini) i STANLEY .VA,lK'rr at iuth
i ivnniM unu vvrni-r r,i n,.'.l.l' LL! Jj 1
,'itn 4 Uuliliiur
mat s lvc.
JACKIE COOGAN
In 'MM" U'S It i iiov
0 SQ
AT OTHER THEATRES 1
r.o.A.
MEMBERS OF M.P.T.i
Germantown BB1rATtNnKnDA?,v-
JACK PICKFORD
TUi: MAN VUIO HAD KVr.HYTIIINfl" !
PI ORP B001 MAiiKirr st.
UL,vjon. . ( n , n 30 , .,
JEWEL CARMEN
L"'",J1 m:h iiMN"
P.RANT 023 OIKAItD AVE.
Var'A I MATINEK DAILY
OEoneiij riTZM mhijok'si pitontVrTinv
"PAYING THE PIPER" T
GLORIA SWANSON
In "Till. eiltl.AI .Vlnvirsr-
333 MARKET mlt"thiTat"iS JEFFERSON
"THE BRONZE BELL"
PAULINE FREDERICK
in iMii'i ur DKHTINV"
VICTORIA "ft ,' ;;
TOM MIX
13 "AFTEK OUK OHJJ HKAHT"
Olh & Dauphin BU.
MATINKK DAILY
SESSUE HAYAKAWA
In "IILACK 1KINKH"
PARK "'MB AVK i, DAUPUW iZ
ut Evi. Oils to 11
BEBE DANIELS
In "THE MARCH HAKB
A
' J
a
, n
Mil
VI
' T
a
n
X
i
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, A
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ft
f ft iVfy
ft ? S
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