KVSgjj.i
W
" ,'-p'y, a'v '.T.! vwVf- ff?"
;V . vv .fie, w
EVENING PUBLIC LEDGER- PHILADELPHIA, THURSDAY,
SEPTEMBER 1 1921,.
HER&S HOW THEY BEGAN RIGHT , HERE JNPHitL? ' . -'RlJ
Te Daily Movie Magazine
mr -wl r i 7f?rlPffil W J'S
ft -jet vf ISes2S,--
rtt - St) ' '-
MSN:
'Ale AflH& "
I if
Km
y
I
I
.hv
8
II.
to-
MM
wi
;
w
if'
tWBca":
CLOSE-UPS of the MOVIE GAME
By HENRY
t Was a Great Night for
YOU'VE nil rrnd In the papers nboiit the great demonstration thry staffed in
Now York Inst Sunday nljtlit for DourIus Fairbanks mid Mnry Plrkforri and
Chnrlle Chnplln. The news dlM'ntehes carried descriptions of the scenes outside
the Lyric Trcntre after the flist showing of Doug's new picture, "The Three
Muskejcers," but somehow they did not tell nuirh of what went on Inside the
house. Mabc the reporters couldn't get In. Mot penp'e couldn't. Kven if
you had tickets, you had to do a D'Artngnan stunt yourself to get through the
mob that jammed Forty-second street.
I doubt If there would have been n greater demonstration if they had been
staging n thrco-round bout between the President of the United States and' the
King of Great Britain and a part of Ireland.
A' friend of mine tried to buy tickets on Friday and couldn't. Everything
was taken. Of course, at least hnlf the house wns Invitation: the first showing
was Intended to gather nn audience that would set a record for brilliancy in
fllindom. And It did. The plnce looked like a moving-picture production of
"Vho' Who on the Screen."
Forty-second street was literally jammed from curb to curb. They had to
call out the police reserves to let the truflio thtough. People who had tickets
fought their way through the crowds nnd then stood outside the theatre, waiting
to sec the triumphant arrival of the three stars. And the police couldn't move
them. There wasn't any plnce to move them to, for the lobby was crowded by
the earliest arrivals a.vl they blocked the entrance.
Fifteen minutes before the time for the show n begin they had to station n
couple of ballyhoo artists outside to jell. "No more tickets sold." And the
people who hud come, intending to buy tickets, cushmI a bit and then stood lirmlj
Just where they were, determined not to be (heated out of a glimpse of the three
stars anyway (I hate to write that "three stars": It brings back such happy
memories.)
THEY had to send men out to pell "The picture starts in five
minutes; no one seated after it starts." That got them. They
began to eome in and hunt their chairs, but thnj didn't sit down. They
just stood and craned their necks in nrry duection to get glimpses of
the famous film folk who dotted the home.
NORMA TALMADGE was unquestionably the center of Interest in these last
minutes. And she deserved to be. If you who loe her on the screen could
see her in the flesh, you would almost wMi she had chosen the spenkins stage
Norma Is personality plus. She looks so sane nnd o unpoiled and so human
that it Is almost impossible to think of her ns one of the most famous persons
In the world.
She walked down the aisle with her husband and her mother, speaking to
people, as she passed with n wonderful little genuine smile that seems to come
right from the heart. There isn't anything up-stage about Norma. She didn't
Rits It half as much as two lesser oh, much lesser lights of the screen who
acted all over the place as long as there wns a chauce to attract attention. And
they bad a chance until Norma came In.
There were several hundred people who had bought general admissions
because they couldn't get seats. I saw two famous directors standing up in
back. It was the bet they could do.
And when this standing crowd began to spread out and filter down the
sides, the management sent men to get them back. There wns no time for
argument. The one nnswer was. "I'm sorrj . sir. but if jou are not satisfied.
you can get your money back at the box office." Polite, eh? Rut uobodj wanted
his money back.
There were a lot of celebrities of the speaking stage there, too. I noticed
dozens of people pointing to an upper box and found that they were spotting out
Kyrn, the dancer, who is making such a sensational hit at the Winter (tardea
And Kyrn Is a good deal like Norma ; there isn't the slightest suggestion of the
stage about ber when she is out among people. She's human and eminently
'' sensible and she doesn't talk shop.
-
pHEX there came a commotion at the door cheering and clapping
and the crowd surged in. The house was on its colltctive feet in an
instant. And the Big Three of Filmdom entered.
T3EY yelled for Doug and he came out and bowed. They yelled for Mary and
she smiled her thanks. They let .Turk Demnsey como forward to nut a minch
i'd, - In the affair. And then, when Charlie
' J wild.
What is there about this wonderful little man that carries his human appeal
all over the globe among all peoples and all conditions? Some day I'm going
to spin you n jam about the odd corners of the world where I have run across
Chaplin fans. I've come to believe that Volapuk and Esperanto arc not needed;
all you have to do Is acquire a good imitation of the Chaplin walk and the world
is your brother.
I never saw any human being look Ies flesh and blood than Mnry Pickford
does. As she sat in the box Sunday night, she looked for all the world ns if
omfbody had taken a highly colored and verj shiny lithograph portrait of her
aad tut It out and snt it down there for us to gaze at.
ti bne gives an unbelievable impression of unreality. Her hair is tho yellowest
"oliTeUow gold ; it glitters and shines ns though she hnd varnished it. She wore it
jiii iu waes oi curia jou Know; tnc Kinu ot DaDy curls tnnt mother used to
make U6 hate before church on Sunday morning when she wet our hair and
brushed it tight around her finger and left it that way for all the other fellows
to hoot at. Mary's head was just n mass of these curls. I don't know any other
woman of twenty-eight who would dare to go out in public that way and who
could get away with it.
But we've known her for so long as a little girl of the curly. Pollvanna kind
that it isn't so conspicuous with her. We've come to think of her in just that
way.
The house wouldn't let the show go on until Doug had jumped up on the
railing of the box and stretched out his hands to silence them. 'Friends," he
aald with that inimitable smile of his, "I can't make a speech now. I'm too
nervoushonestly. But I'll tell you that this reception is wonderful simply
wonderful. If jou want me to, I'll say something after we've seen the picture
But not now. Come on ; let's go."
So they saw the picture and thej laughed and cheered at evervthlng that
Doug did in it, and every time he pinked some one through the midriff with his
sword they gloried in the gore and a good (daylight saving) time was had by all.
And then, at the end, they made Doug come out and say the usual stage
nothings and they clapped. After that nothing was left but to begin the fight
to get out. ,
U IT IS ichen I see things like this
jiil '"' "t yuuny jam. an xne icorK ana all the worry
and all the privation of years are nothing if they only bring at the
, end one such supreme moment of popular idolatry. That's why the
fans are anxious to get into the game. There is no other way in the
world by which such wealth and fame ca be won by people scatccly
out of their teens.
Daily Tabloid Talts to Fans,
on Breaking Into the Movies
By JOHN EMERSON and ANITA LOOS
Does the Movie Actress
Tht authors nl thin tprlrm nr thm
famous Emerson and Loos, who have
teritten some of the most successful
photoplays. They now have full
charge of all scenarios for Constance
Talmadge.
"TDUT they have no brains!" some
- one is sure to say.
.That sort of thing Ik rnther cheap
cynicism. As a matter of fact, they
have plenty of brains, but of their own
peculiar sort.
A motion picture nctor, like any
other typo of artist, is nn emotional,
temperamental creature; but the prob
lem which worries him the most is one
of Intellect rather than emotion in
short, the problem of just how to con
trol the reartlons inside that discredited
Cray matter of his.
Every film actor and you, too, if
you enter this field is at one Mm or
another confronted with the nernlexlmr
it prob'em of just how much thought h
S? fttliillrl .illlnu tA ifr intn lilu U'rtpl tVint
W..WM.M .w .. ,w (,1. .,. ,1,0 iw.Ck , iiihi
is, whether his nctlng should be emo
tional or intellectual, The question re
solves itself into this:
Doe's an nctor feel?
Should he feel?
' "-There aro two schools of thought on
this seemingly academic, but iu reality
most important subject.
..First are those who say that an actor
Bust feel the part he is playing. The
greatest actors, they say, hare always
been those who wore themselves out in
an 'hour's time, because they felt the
emotions they portrajed.
They tell one story such as that of
J by one t&A, Mrs. Kendall, who, having lost her
, mann & ovn ch"('' electrified an English audi-
e Uomr Vi, W1W Dtr portrayal 01 wie Dereaveu
Cir 0"icr asi lij-nne to sucu an ex-
3P.) ?"J3t tnat women leaped to tneir tcet
e nit. sboutlnx "No inoro, no
i
r noint to. tin fiet that tho creat
M. NKELY
Doug and Mary and Charlie
Chaplin appeared, they simply went
that I begin to understand t)
the lure
Really "Feel" Her Part?
are able to simulate the three reaction
which nre quite beyond the control of
the will pn'lor, blushing and the sud
den perspiration which comes with grtat
terror or puin. This, they say, is proof
positive that these actors are feeling
every emotion as they enact it.
rplIE second group declares that all
J- this is nonsense and that If an actor
really felt his part, he would lose con
trol of himself, nnd perhaps actually
murder some other actor in a fight
scene. Acting, they sn. Is an art
wherein the artist, by the use of his
intelect, it nble to simulate that which
he does not feel using his fnre men-U
ns the painter uses his canvas. The
moment an actor begins to enter into
his pnrt. his acting lb either overdone
or underdone and the stnno la n,,no.i
The who'e trick of It. they add. is to
keep perfectly cool and know exaeth
wunt you nre doing, no matter bow
spectacular or emotional the scene
Still n third school declares thnt both
these views nre wrong, nnd that acting
is neither a matter of thought nor of I
cuiuuuji, oui is purely imitative. An
actor observes his own emotions ns he
experiences them in each crisis of his
real life, they say, nnd remembers them
so well that ho is afterward able to
reproduce them before the camera.
The great stars of the motion pic
tures today, when one is able to draw
them out on the subject, any that when
they are acting they are thinking not
about ono tiling, but about several
things. The brain is divided Into dif
ferent strntn, and while one section is
thinking about the part, nnother Bcctlon
is entering Into It. while still a third
stratum Is busying itself with idle specu
lation about the cameraman and tho
director.
(These "Tabloid Talks" are con
ouc(f from th material for a book
by Mr. Emerson and Miss Loot to 6
puaitsnea oy the James J.. Mcvonn
Company, New Vork.)
r.
TALMADGE FAMILY AS
,. f fP ',;'V
Vja&c&tMM
THE man who writes our "C!oe
1'ps" column saw Norma Tnlmadgc
and her mother nt the opening per
formance of Douglas Fairbanks' nic
tare, "The Three Musketeers," in New
York on Sunday night.
"My!" he snld, ""how well you're
looking "
"Yes," said Norma. "We nil looked
so well after our vacation that we went
to n photographer and hud some new
pictures taken."
THEDA WANTS YOU
TO WRITE PLAY
JUST FOR HER
fNCE ur
J "vamp"
pon a time there wasn t a
mp in the whole world except
Thcda Bnra. You youngsters won't re
member when she cau'ed the censors to
measure the proper number of feet that
were allowable for a screen kiss. She
nnd Olga Nethersole were the original,
dyed-in-the-wool kissers. Of course.
we've all kissed. But not as Theda did.
All question of ki'slng and "vamp
ing" iifide. Theda is now anxious to
make a hit on the speaking stage in
some bort of plnj that will allow her
to live down the reputation she made as
tho genuine sting-of-u-wasp kisser.
SI?., still loves the movies, but she
wants the more personal contact of
the speakies. So, while she is touring
the country in a "personal appear
ance" act, she is looking for some sort
of play thnt will give her that contact.
The man who runs this page met her
in New York not long ago.
DOES SHE LOOK LIKE
T" t His x
il S v Tfti ft v m& f'i $!Jx
THEY LOOK TODAY
Above Constance
Talmadge and
her mother.
Below Norma as
she is today
"Why not give me copies to show the
fnns in Philadelphia?" he asked.
"Well," smiled Norma, "I'll give
you copies not that anybody cares
anything about you but we all enre
about the fnns around Philadelphia."
So the next day he called and got
conies of the new nhotoerunhs. They
show Norma nnd Constance nnd Mother
Talmadge. They look as though the
vacation had done them all a lot of
good don't jou think so?
"I notice," she suid, "that you have
been running a series of articles by
Dorothy Farnum on how to write the
synopsis for a moving picture."
The aforesaid man plended guilty.
"Well." snid the divine Theda, "you
can tell jour budding scenario writers
that I will give them a better chance
than most scenario writers can get. I
want nn idea for a good play for the
speaking stage. I don't want the whole
plnj. I simply want the synopsis in
ordinary story form.
"I nm willing to pay ?."00 In cash to
anybody who will give mo this iden. I
will be in Philadelphia soon and. If
tlicj will send me their synopses cither
to me or to you I will Kvc $.V)0 for
one thnt is nvnllable, and I will have
it nut in slmne for the stnee. AnH. If
" , "J-"' ?"'" :','.' . ,v ieB ""!
. Vb"al rfnJra '. !h?mJ ?i22 the 5u
J Wr the theme alone,
i .And so all you budding ecenarloists
if is acceptable, I will givo them the
i w" "HVe "I writing to Dorothy Far
num hero is your chance. There's live
hundred cold dollais In it just for a
bare idea. And royalties besides.
Como on aB Doug Fairbanks savs
let's go.
A "VAMP" TO YOU?
o
Here is Theda
Bara as she
loolcs today.
She toants
some one to
give her an
idea for a play.
She offers
$500 for it
CONFESSIONS
OF A STAR
As Told to .
INEZ KLUMPH
THE STORY BEGINS
tfiA the early days in the old Fine
Arts studio in California, when Col
leen Moore, the Uish girls, Bessie
Love and a host of others were not
much more than extra girls. Diana
Cheync relates the tale; she begins
with the day in the studio when she
nnd Isabel Heath, not stars then as
fAcj are now, were sitting on the
stairs when a strange man came into
the studio and looked at them. The
cameraman called them down to
meet him, and it proved the turn
ing point 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 screen's
"baby vamps," and engaged her for
such a part n a photoplay he was
producing.
NOW (50 ON WITH THE STORY
CHAPTER IX
FDR a while the trndc journals dcnl
lng with the motion-picture industry
were full of announcements about Isabel
nnd her new company. She was to be
gin work right -iway on n wonderful
story written by a big scenario writer,
whose name would be made public inter.
Then she wns looking for studio spnee
at Fort I.ee. Then she wns choosing n
director. But nothing definite was ever
told. Always this picture was going
to be the most wonderful one ever made,
but that wan all that was said nbout it.
"Looks queer to me," ono of the men
nt the studio said, ono night w'icn a lot
of us were anting some sandwiches that
bud been sent In ; wo were working lnt,
nnd hndn't time to co out to dinner.
"The latest is thnt she's reading stories,
the one that was written opccinlly for
l.cr belnj no good "not suited to her
talents,' it says in the Review. Thnt
always means that something's fnllcn
through, when they're Just reading sto
ries. I know the signs."
Later I saw that Derry had gone to
France with tho nvl.itiou corps gone
without "ending me oxen a line. I tore
ur the li'tlc souvcniis I'd been keening
of the times we'd jono out together,
nnd thr?w away the four-leaf clover
he'd found and given mo once when we
were out on location together. I felt
awfully unhappy, and sick of pictures,
and tired of everything. And then I
met Keith Gorham, and my life took
on a queer twist that has never been
quite straightened out.
I don't kuow that I can mako you
understand his fascination for me. lib
looks would have hern enough for nny
girl, even for one who'd been associntcd
with as many good-looking men ns I
had. Ho hnd blnck hair, nnd long, stffl
blue eyes thnt were heavy lidded, much
ns Rudolph Valentino's nre. Jn fact,
there's ono close-up In "The Four
Horsemen" whero the heroine nsks Val
entino if he'll behave if she goes to his
studio, where Valentino makes me think
of Keith. They liurc the same inexpli
cable chirm.
Wc met at his aunt's home. Mrs.
Gorham was nn old friend of my aunt's,
nnd hnd asked me to a dance which she
was giving. Sho motored to town to
get me, nnd we drove In her wonderful
c-nr to the most beautiful home I'd ever
seen a lonj, low house, cream-colored,
with a red tilo roof, with the blue sea
lj ing below it.
1 enme out into the terrnce when I
bnd dreswd for dlnmr. and there stood
Keith, one arm resting on the top of a
great terra-cotta urn, his big figure, in
stunning white flannels, silhouetted
jigninst the flaming gardens that swept
down to the sea.
Hearing my footsteps on the tiled
floor, ho turned, nnd my eyes met his
long, henvv-liddcd ones. For an instant
my heart fluttered and I had a curious,
shlvcn feeling .Tust one other time In
my life have I felt thut wav : both
times the sensation has warned me that
tho man to whom I was being intro
duced was to play an important part in
my life. Laugh if you want to; this
snino thing hns happened to other girls,
I know nnd I hope nnd prnv thnt it
will never again happen to me!
Mrs. Gorham introduced us. nnd then
snuntercd down to the rose gardens, the
heavy lace of her gown making a soft,
swishing sound. I found myself listen
ing to it intently, knowing that I was
trying to postpone the moment when I
would find that Keith Gorham's eyes
bad drawn mine to bis again.
We talked only n moment, nbout little,
commonplace things, before dinner was
announced. Then I found myself seated
across from him at the round table that
was laid on another terrace, from which
we could look up at the hills, dork
ngulnst tho wonderful blue of Cnllfor
nia's night sky. Across from me sat
Mr. Gorham, a genial, sandy-haired
man, who wns frankly curious nbout the
world I moved in: between him und
Keith sat his beautiful wife, her yel
low hair and the emeralds that gleamed
nbout her throat made doubly effective
by tho rose-shaded light of the candles.
Out of sight, but reminding us of its
presence by the salty tang it laid on the
evening air, the sea murmured con
tentedly. And the flowers that bloomed
everywhere all seemed to be embodied in
the sunset-hued roses that were massed
on tho tabic between Keith Gorham aud
me.
My tulle frock wns orchid color, with
cloth of bilver shimmering bencnth its
flufflness. I knew that I looked well;
that the deep wares of my bronze hair
were lovclj, thnt my eyes hnd never
been a deeper, clearer gray.
And I knew, too, wheu I looked at
Keith liorliam for n long, breathless
second, when my heart seemed to ham
mer In my thront. that that flower-
scented evening was going to bring me
happiness.
CONTINUED TOMORROW
Huge Set Built for Lytell
The reorganization of the motlon-pic-cure
industry now being effected hns not
interfered with costly and elaborate
scene "sets." This Is Illtratcd In the
production of "Lady Fingers," from
.Innkson Gregory's tory, with Ilert
LyteU as star. The largcit setting ever
constructed at Metro studios in Holly
wood. Calif., is used in this picture. It
shows a patio, Including a large garden
In the center of which is a pool. The
patio Is surrounded by n elolstcr walk
with vlned archways. All of tho rooms
are completely furnished, so that scenes
may be "shot" from any angle.
Got His "Bad Men" All Right
Mnxwell Kargcr, directing "The
Golden Gift," In which Alice Lnke is
to star, sent to the Mexican border last
week for "bnd men" types. The "had
men" scouts were so successful that the
horde of cvll-looklng strangers who ap
peared at Metro Studios in Hollywood
had the whole cast nervous until they
were shipped back again.
G
ARRULOI'S GARRY In her article
tndnr tells how she stumbled ncross
nn old photograph from the Lubln stu
dio days in this city. Below you see,
in woman s costume, unrry .Myers,
now famous ns the hero of Fox's "Con
necticut Yankee in King Arthur's
Court." The stout ish chap facing the
enmern Is no less n personnllty thnn
Enill .Tnnnings. who hns since nchieved
fame ns King Henry VIII in Lubltsch's
production of "Deception." Above nre
Myers nnd Jannlngs In their new roles.
GARRY RECALLS
EMIL JANNINGS
DAYS AT LUBIN'S
By HELEN KLUMPH
rnHOSE were the good old days,"
J- Gnrry wns murmuring over a slip
of paper when I came upon her unex
pectedly. I couldn't tell nt first glance whether
It was Lew Cody's first marriage cer
tificate or a picture of Wallace Reid ns
a baby, so I had to admit my curiosity
In "What were the good old days?"
"These," she declared, pushing a
snapshot toward me, the one you see on
this nnep todnv. "The fat and kindly
looking man at the bottom of the stnirn
is Emll ,'nnnings, wno pinyeu me sing
In both 'Pnssion' and 'Deception. It
was taken ten years ago before he went
to Germany to live, when he was in
the stock company at the old Lubln
studio. The man dressed up in woman's
clothes is Harry Mvers. 'The Connec
ticut Yankee.' I thought I recognized
both of them the minute I found this
in nn old scrapbook, but to make sure I
went up to the Fox studio and nsked
Mnrv Cnrr. nnd she snld she could re
member well when they both looked like
thnt.
"She wnsn't acting in pictures then,
vou know. Her husband wns in the
business end of milking pictures nnd she
just used to visit the studio. She hnd
been nn actress, but she retired when
she got mnrricd. And then, when her
husband became very ill and she had
to support the family, she just stepped
into pictures, and she knew so much
about them thnt directors found her
wonderfully easy to handle. They said
she was much more plastic and expres
sive thnn most experienced young play
ers." "But about Emll Jiinnings," I re
minded her. Garry Is so apt to wander
from the subject. "How on earth did
you happen to havo bis picture? Did
you know him?"
"Of course not." Gurry declared, her
eyes flashing. "How old do you think
I nm? Do you think I hold my years
like a second Mnry Miles Mlntcr?"
But when she had calmed down a
rilOTOPLAYH
APOLLO MDVSBT
WILLIAM S. HART
. "0'MAM.Kv nr TUB MOUNTED"
-AD rAnlA CUK3TNUT M 10TH
ARCADIA to A. M, " '' E. M.
WANDA HAWLEY
In "TUB SNOB"
-;CTAR TONKL1N t OIHAUU Av7
AS 1 UK MATINKE DAII-J
drnrude Alirton und Special f.t In
"Don't Neglect Your Wife
BALTIMORE SttffiSK.
WESLEY BAWnY In Myrta" -''"
..mM.T UTfl.
v-,fc,Kf UT1t A-n
WOODLAND AVB.
oi-f nut.Y
bblNIN MATINTF OJ1IJ
ELLIOTT DEXTER
In "THE WITCHING HOLU"
BLUEBIRD nrll?..i.u,s,uuen"n
EUGENE O'BRIEN
In "WOKI.DS ArAKT"
- A DITTM T22 SIAHKET BT.
CArllUL io a sr tnii.wr. m.
TOM MOORE
In "MADE IN HEAVEN"
Otn. A MAplewood Aval.
I l 1 A. J1N1ML. 7 .nrt It P M
ROSCOE (Fatty) ARBUCKLE
In "CRA7.Y TO MAHBY"
DARBY THEATRE
JUSTINE JOHNSTONE
In "TIIE PIJMTIIINO OF BROADWAY"
CMDDCQQ MAIN ST.. MANAYUNK
bMrKCJa MATINEE DAILT
Btwflsl Cnt In Mory Robert! Rlnfbart'it
"IT'S A GREAT LIFE"
FAIRMOUNT -jln&r
JAf'K HOLT In DE MILI.K'S
"THE LOST ROMANCE"
17 A Mil V THEATRE 1811 Markot Bt.
rMlVlllI ha M '.'O MIDNIOHT
ALL-RTAH f'ART In
"THE FOURTH FACE"
CtTU CT THLATRE Dlow Hpruc.
JOin Ul, MAT'NKK rAII.T
J. L. FROTHINnilAM'S rRODl'CTKIV
"THE TEN-DOLLAR RAISE"
FRANKFORD in K'lWiti5
HAZEL DAWN'
In "DEVOTION"
W J THRU k
COMWWY r J
CM ORF C001 MARKET HT."
"THE V0IC IN THE DRK"
MB IOLHPM
- QHnHMKii' f ? J uWiSsKssssssssW'f r'
little bit, sho told mo that she had been
just as much of a motion-picture fan
in the pioneer days as she was now.
"TflMIL JANNINGS deserves all the
J-J praise he's getting now, because
of his early struggles," she told me.
"Just because he was fat he had to be
cither the funny man or the villain in
every picture, and oh ! how he longed
to play a real dramatic part! One of
the old Lubin directors told me.
"And speaking of reminiscences do
you know who the first really prominent
nctor from the stage was who acted In
pictures? It was none other than Lionel
Barrymore. Other actors scorned mov
ies their reputations ns actors were so
precarious that they didn't dare do as
they pleased but when Lionel Barry
inoro heard of something new in the
way of acting he just went right down
to the old Blograph studio on East
Fourteenth street in New York City
nnd got a part iji one not such a big
pnrt, either.
"There wns none of this high-handed
'give me my own company, n million
dollnrs a week nnd supervision over
every detail of my productions' attitude
that sonic stage stnrs have now. And
that's nrobabiy one good renson why
Lionel Barrymore is still u popular nctor
while some of those others who were
upstago about going into movies have
long been forgotten. And that reminds
riioTorr.AiH
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.
GRANT 40" GIRAKD AVE.
i.ciri... SIATINEE DAILY
JiViJi Ni)Vil!L ""d SPECIAL CAST In
"THE OTHER WOMAN"
GREAT NORTHERN rWra
LIONEL BARRYMORE '
In 'THE 0KI1VT ADVENTUItE"
IMPFRIA1 00T WALNUT BT3.
WHITMAN IIENNETT 'nnd SpeTlrfl Cm Tin
"NOT GUILTY"
Lehich Palnrp Grmantown Ave. and
DOUGLAS FAIRBANKS
In "HE COMES Ul' SMILING"
OVERBROOKc3D&Ijft$
HLOlfc. rfcKUUJSUN
SACUEI) AND MtOFANE LOVE"
In
PALACF 1IU MARKET 8TOEBT
CLARA KIMBALL YOUNG
In "CIIAKOU IT"
PRINCESS i018 mahket htueet
DONALD dtIS!"S r-KOIH'CTION
"APPEARANCES"
REGENT MAIf ',? ,STM mow imi
JUSTINE JOHNSTONE '
In "SIIELTE1IED DAL (, HI Kith"
RIALTO apTmv7vBNUE
"The Woman God Changed"
RUBY SIAKET ST BELOwItiI
WANDA HAWLEY
n "HER bTlIIDY OAK-
SAVOY 12U SIAKBT hTnEET
v u I 8 A M TO .HDNiaHT
LIONEL BARRYMORE
III "THE
DEVIL'S GARDEN"
SHERWOOD "mat Tifa.
""'wlse'foB1""
STANLEY ?. T ,nT"'
333 MARKET OTVT TV55
WILLIAMS. HART15 l'H-
In "THE WIIlHTi.tM
VICTORIA Ti"-"i' ",!! i'
me when do you suppose his 'Boom
erang Bill' will be released?"
"Along with all the other good things
the producers have betn holding; np for
cooler weather, I eupposo," I re
marked. "Well, there's only one consolation
for the dreary pictures they're putting
out now," Garry offered. "Come with
me to 'The Hell Diggers' and see Wally
Held nt his worst, then when 'Anatol'
comes out we'll appreciate him all the
more."
Director Used Airplane for Speed
Hugh Wiley was in the midst of a
new Saturday Evening Post story the
other day in San Francisco when bis
phone bell rang. "Mickey" Nellan, in
Los Angeles, was at the other end of
tho wire.
"Got to see yon today on thnt new
story," said Nellan.
"I'll bo in your office this after
noon," replied Wiley.
True to his word, the author step
ped into Neilnn's office five hours later.
In these dnys of airplanes and perfect
flying weather, such things as these are
easily possible.
Mr. Wiley is working on a new story
to be presented on the screen by
"Mickey," following "Bits of Life."
in which the first Wiley story ever
screened will be presented.
rnOTOPI.AY8
'wfarwuSr
. ' COMMNV V
.OTAMJWOk.
I ho NIXON-NlRDLINGERfTS
THEATRES (Jj
BELMONT B2D ABOVE MARKET
tWLT.MM nCSSELL and 8peell,Cf.t U
Children of the Nightft
CEDAR C0T" CEDAIl AVEMJl
"THE KILLER"
COLISEUM Market tL 60tb A OOtt
V, 3'30 an,l 6:30 t0
NORMA TALMADGE
a "0II0BT8 OF YESTEKDAY"
JUMBO ONT ST. A QirtAHD AVB.
MAE MARSH
In "NOIIODY'S KID"
LEADFR lST LANCAaTER AV
7!.2 MATINEE DAILT
U0,,,S SIAV nntl rpi'RTENAY FOOTE U
"THE BRONZE BELL"
LOCUST B2D AND LOCUST STREET
W,J1 Mam. 1 80, 8 30 Eva. 0 30 to II
THOMAS MEIGHAN
'" "THE CONQUEST OF CANAAN"
RIVDI I 02D AND SANSOM 6TS. J
.y.. ... MATINEE IMlLf
MAI Mr.VOV Pn,i SI'ITIAL PAST In
"A PRIVATE SCANDAL"
STRAND
QERMANTOWN AVE.
ROSCOE (Fatty) ARBUCKLE
AT VENvon PTn-r-
in "UllAZY TO MARRY"
AT OTHER THEATRES
MEMBERS OF M. P. T. O. A
Germantown "VUtYneb!
BERT LYTELL
In "THE I'RICE Or REDEMrTION"
JEFFERSON an'it.t"
MARY MnrLAKKN A NORMAN KERRY l
"THE WILD GOOSE"
PARkT RIDOE AVE. i DAUPHIN 8J
I AIMS. MMi 3!lB K,. fli to II
HKKNA OMEN nnd K. K. LINCOLN' "
Tho Woman God Changed
WESTALLEGHENY SB,&.,,i!
(
"sMWromr
1 .. .M
.f
M
v.
"""kiifaii imsIii iirf V