l , . ?M IW,"' f ""I TOP"" WW Vt" VI' - ? i ? v ' .,YT A " .i 11 ?v 11 v v T . v -i Evening puBLtfr iiEDaBRPHiiiABBrpHiA "-MOHblT, seieier 5, 1921! . KING SOLOMON MINUS HIS WIVES CONFESSIONS OF A STAR As Tpld to INEZ KLUMPH "?& Daily Movie Magazine i , . $. aan. i j W -X , SESmr . .. i'n r Km s 1 Sep. M ' &-: r i N, - CLOSE-UPS of the Hy IIENKY Is tho Day of the Huge Spectacle Drawing to a Close? T1ICUT0 in n. growing ffclinp In the moving' picture industry that this coming atnfton will just about mark the end of the huge spectacle picture the mammoth production costing a million or more In money and many months In time. Producers are beginning to doubt whether the public cares enough for them to make them worth the tremendous labor and expense Involved in making them. While Griffith was staging the big mob scene for "The Two Orphans" over on Long Island last Sunday, I stood talking to a man high up in bis organization, and as he watched the two thousand people going through the action again and again to get it right, this man said: "Do you know, I doubt if you will ever see Griffith put on another npoctnclc after this. I'm not speaking officially, but my oun opinion is that he has about come to the conclusion that they are not worth while." And, as I watched the ncrvc-nhattering work and thought of the thousands o dollars that that ono day represented, I found It easy to get thla viewpoint. Tor, except for the reputation that It leaves behind It, the big spectaclo docs not live much longer than the really good five-rceler. You are going to have a chance this season to bco the very last word in pectacle making. There will be three American productions that will probably decide the fate of this form of picture. Tliero U the present Griffith work, Fox's "Queen of Shcba" and Universal' huge production of "Foolish Wives." This last Is the most costly and elaborate picture ever staged. It has totalrd masnmsmMawmsa MMRE.'TkVwi iiiwrif t r 'im it rai rrn . ... iMMMBHMilRi. 17BtmBmliBamS7tlSSVm7ZfiyiSMiimmm liBllTPBi'iWWHj 1 'I WJB1 : J.rt,r.ri 'llv?lBJ51l SrMaVUSMmSlSMrmmMt w j!vRSSSMKBSmlSaB9MSSSSSSStSUUKSriVliSSBLjSxWUtV7' ylrKjH vfmUHA wX ijytRmM w li? Tn '""T P ' rtf.JrwM tV..XtirWi.'t'AJf-,yt ortr a million and a quarter dollars In expense ; production was started July 12, 1020, and the last scene v,au filmed June 15 of this jcar. f.V ALL, 509,000 feet of film teent through the cameras. This tens reduced to S26.000 for the editing and less thnti 12,000 feet of this xcill turvive for the production as you tall see it on the screen. OVEIt a quarter of a million dollars of the expense money went for the grrat Monte Cnrlo set. pictures of which jou will tind on this page todny. This is an exact replica of the famous plaza at the Mediterranean gambling resort, and the orders were that the reproduction should be absolutely accurate, no matter what the cost. The plaza with its clrculor cases of fountains and shrubbery, one ninety feet and the other 112 feet In diameter. Is 400 feet long and two-thirds as wide. The tips of the Casino towers are bcventy-four feet above the sidewalk. The Hotel de Paris is 110 feet long. The cafe, with its distinguishing dome, is 120 feet long and Its crystal dining room requires four dozen rectangles of heavy plate glass, four by twelvo feet. So huge is the tet that long shots of (500 feet from two angles are possible, and to photograph them the cameras were put on nearby hillsides. The buildings, reproduced to the minutest detail from enlarged photographs of "the originals, are finished in plaster over buttonlathe the same construction used for permanent buildings in California. The force working on the massive set for many weeks included 110 car penters, thirty plasterers and twenty workers In btaff. or ornamental plaster. Twenty laborers nnd five teams of horses leveled and graded the land in and about the setting. The amount spent for lumber alone, $20,000, exceeds the published cost of Griffith's biggest sot In "Intolerance," while 9000 in plate glass, $5000 In lathing, $3000 In plaster, and over $40,000 In labor was expended for this scene In "Foolish Wives." A foice of fifty workmen at Monterey, Ciillf , constructed a smaller setting, only n block nnd a half long and 180 feot wide, that cost nearly as much because of transportation difficulties. The Monterey betting reproduces the rear of the Casino and hotel, and the terraces overlooking the Hay of Monaco. Not long ago I asked one of the Universal officials whether It would not hayo been cheaper to take tho whole company to Europe and shoot the scenes in the actual Monte Carlo. "No," he said. "It would have meant closing the big gambling establish ment for several weeks while we were working That could not have been arranged unless, perhaps, they would have conbldered a proposition for us to pay them tho Income they would have made during that time. And, if joU will look up the enormous income of the gambling establishment, you will sen that tho figure would be absolutely prohibitive." AXD even today, with all this money spent and this time and lalor conamed, no ono know tchether the public is going to like "foolish Wive" xeell enough to make it commerriallp profitable. Xo one can tell that in advance about any picture. That's fit the huge and costly spectacle is being shunned by producers; it's n gigantic gamble, and if it doesn't win, the loss ii great enough to cover the expense of half " a dozen ordinary pictures. BETTY COMPSON WILL DO BARRIE'S "LITTLE MINISTER" Ry CONSTANCE PALMER Hollywood, Calif. 'AT LAST Betty Compson is to linvc XV- her wish. She is to do "The Little Minister," by Sir James Rarrie. In fact, it is to be her next nlcture. I -Wish I might write reams and reams l .. ni r . i.. i . about Miss Compson, transmitting to you her wonderful vivacity nnu lntelll gence. She has both feet on the ground and knows just exactly where she's go ing. I Penrhyn Stanlaws has also set his heart on doing "The Little Minister." so he will ngaln direct Miss Compson. He has directed iter In her first two pic tures, nnd this will bo her third. "The Woman In the Case" Is almost finished. At tho present tempo of production it eems to db very long in me maning, uui when you consider that "Tho Great -Moment" took fifteen weeks, six weeks on Miss Couipboti'u picture isn't so bad. Rut the way they're rushing these tirodiictions throueii. It's a sort of here today anil gone tomorrow sensation. Who do vou think are chums-now? Juanita Hant.cn, berlal queen, and Clara Harmon, a queen of the murder courts ! Tha last named was nationally promi nent a few months ago for dispensing with one of the human race. Then she Was prominent in amusement manufac turing circles for trying to put her method upon nndying celluloid. All the producers, actors and writers signed a petition, which was sent from studio to studio till every ono was included, to prevent her making tho film I believe the persisted in her efforts, but failed to get u release. Itut, oh Reginald, yuh oughta know Junnlta 1 Rupert Hughes' new story will be 'Uei. "Xb? Wall Flower," It will b StfetM bijfX). Mason Hopper, and Col- vim 1 tMM&j y.awM MOVIE GAME SI. NEEL.Y smmmsmMmmzmm a great to-do In the public prints about finding a girl suitable for the part. She had to bo homelv in the beginning and I booful Inter. Rut don't let 'era kid jou. They knew all along they were going to iiso Miss Moore. I heard Ru pert Hughes say so the second day of casting the picture. ANOTHER note of interest at Gold- i wyn Is the fact that Elliott Dexter has been lonned by Famous Players Lasky to play the lead in "Grand I.ar- cen, nn Albert 1'ajson Meiliune iioc- ' 'm'n,t ,of "'"'" Tom Gallery, Zhbu i Pitts better half, is to play In this as . we ns ,u The AVoll FIower.. rlaIrc Windsor plays opposite Mr. Dexter nnd Kidiard inciter and Hoy Atwell com plete the cast. Speaking of tfnsu and Tom, they cer tainlv do havo a good time out of life. When they were mnrrled, Zasu was the shining light of the family She had a contract which netted her $1000 n week. (Rpttcr moke a speech on that. Mr. Ncely!) Hut something went wrong I with the machinery, and poor Zazu was out or a Job, but $10,1X10 nnd one largo green motorcar to the good. Then. Tom being a nice, utisranrtlnii young man, clean below the collar Hue, ' producers began to heo possibilities in i him He nlmnl the lend In "The. stnn of Wnlllngford." did lots of parts with I Marshall Neilan uud look nt him now' ! Zasu bays, "As long (is Tom Is get ting the credit, it's all right with me. I'm only n wife I" Rut Just tho same, Xasu has mora up her sleeve than a tlour-tuiudgcd arm! This morning I used tho samo street car as Conrad Nagle. Ho certainly is a darling. lie called my attention to tho fact that tho Lasky publicity de partment was sending out n picture of him nnd little Kuthle, the Naglcs' new baby, with the caption, "Conrad Nagle anil his Fourtecn-Months-Old Hnbv " "Fourteen months' said Conrad, with unlimited disgust "Why, nnj body that knows anything about halites can see that Ruthie'a only seven months!" The darliugl And that from one of the most ronulanand success- l nl of our ataru r r -" - .- m. COST QUARTER OF A MILLION TO BUILD hJnvn ff rt sf ,,: :,,,, rzm&tmimmmmmmm pendous sets ever built for a motion pic turc. It shotvs the plaza at Monte Carlo with surround ing buildings. Below it is seen during construction. At the right you see it finished, tvith the cameras shooting it. TTV . Tt IK "' "L4 1 ' ?sfeHi iysssm i7!SSESa SaEEEl Answers to Questions by Movie Fans Tina "Tho Lotus Eater" has not i been teleased. And by the way, the name lias ueen cliangcu to I lie 1 lin den Paradise." That woid "paradise" eoiiis to bo us popular in titles at the pri-ent moment as "passion" was a few months ngo. I wonder if there is any special tdgniflranco. Rogo You nre entirely correct about Mary Pickford's appearance in "The Warrens of Virginia." That was one of her very first pictures in the old Olograph days. FluMiinj Pincro wrote n plav, "The Thunderbolt," which was pioduccd on the New York btage tome ten years ago. John Emerson, the well-known scennrio writer, nppcared on the stage before taking up writing as a profes- sion. Levant "Virgin Paradise, Pearl White's nresent nlcture. .. j-lc cast includes Robert Elliott. J. Thorn ton Haston, Alan Edwards. Henrietta Flojd, Grace Iteaumont. Mary Rar nellc, Ljnn Pratt and Chnrles Fulton. Geneva Yes, Jm-k Holt bns been iii ue a star. iiis nm starring picture fisi,t win, a waiter, did you? Well. will 1 entitled, "The Call of the without doubt it is truo if you read it i ivi"? ,DIal,,at,Ion. of Stewart Ld- jn the newspaper. Ilcfore long you will ward Whites noveljif Alaskn. hP(. ,iin ( in a new comedy, "Freight Nancy "The Mlincle Man" was the I,ropnld-" picture which gno Hetty Compsou her I Abbey Norman Kerry Is married, fame in the moving-picture world. The Ciillcn Landis was leading man in "The picture on which sho is working at Girl from Outside." His latest pic presont Is ntitled, "AIwiijh the 1 turo Is "The Old Nest," from the pen Woman." Lou Chancy Is her leading of Rupert Hughes. . V.i t . . GIVEN AN IMPORTANT ilsHH9ns0wrOLPinCiBBBBLVi rSBBBJBBBJKJBHBDniuBJBUHSBRlpSjBJIEHN JflBBBSEBLMsMllMlMMPBBBBB' i WBSm3ly4wBmm, WmmSm mBiSmm,ii m LVIIBflllil EML:--V'.k A jf .'JnHyslHHHH nHwiMnHi iHM(MPJ9snsuaiBH9nHnunvi'fw KJmMUM , MWPMMlMmlrEMsBi.M: LwMsWWflNsm'lSKnBDiH' SIA1U ALUEV Mary Allien, wnnse Impeisonatlon of the mollier In "The Old Nest" hns been receiving wide comment, has been mst fur nn important part in another picture, "The Man With Two Mothers." This is Alice Duer Miller's first original screen contribution, which she helped put Into continuity form while at tho utudlos recently. Cullen Landls will hare tho leaiing mala role ti I jp ' ' " ' V ' '' ' ' ' It " inlraPHriWIII This immense set ivas built for Uni versalis produc tion of "Foolish Wives." The article at the beginning of the page tells about it. - Sto, man. He is the comblcr whom she be- friends in this picture. Ho played op- posite her in "The Miraclo Man." Her new photoplay is adapted from the btory by Pcrley Poore Shechan. Interested "Phroso" is a French picture adapted from the well-known book by Authoiiy Hope. Kenneth Webb is directing Pearl White, who has left i-erlnl work. Her newest picture is "Virgin Parndlse." Yes, it is true that she has divorced Wnlluce McCutcheon. Old-Fasliloned Tho only Hownrd 'Mitchell I oer heard of is not an actor, ' but a director. He has been directing Shirley Mason. I do not happen to I know his nge, but I do know that he i recently married a Los Angeles society girl. licrwalu ies, Eddie i'oio is sua mnking serials. He is at work now on iiie acriei i nur, Dick Of course, Fatty Arbnckle is one of the screen pets. It's a distinc tion to bo fat when you no Fatty Ar- Kimlrlt Qn i nil unn.l fltnf ha Vi fl rl n LfULIVIVl IJU Jill, IVUIl .MMl .. Si ..Ml. . ROLE AS "MOTHER" &H.H&4 "MONTE CARLO" mmm TABLOID TALKS ON BREAKING INTO MOVIES liy JOHN EMERSON nnd ANITA LOOS Slost Moilcni Stars Regan at Rottora The authors of this scries are the famous Emerson and Loos, who have written soma of the most tuooessful photoplays. They now have full charge of all scenarios for Constance Talmadge. "ITOST of the present-day screen actors and actresses gained their experience ns extras, although a few have firit made their success on the spoken stago and then stepped directly into mm stardom. Doug Fairbanks was one of tho latter, nnd bo was Mary Pickford. Chnrlio Chaplin and Wallace Reid, on tho other hnnd, havo done little of note outside of the motion pic turcs. Roth Norma Talmadge andConstonce lalmadgo rose from tho ranks. They took small parts in the old Vltagraph pictures ; but their extraordinary beuuty and talent were immediately recognized by tho directors, and they were per mitted to try bits, then parts nnd finally leads. Norma Talmadge went in for the more emotional roles, whllo Constance developed her ability as a comedienne. Within six years they have nttnlned po sitions of leadership in their respective fields. D. W. Griffith himself was once an extra. Ho was n good extrn, too, ac cording to somo of his former employ ers, who now work under him in his great studios at Mamaronock, N. Y. Rut he hail nil manner of queer Ideas ns to how pictures should be ncted, and directed and photographed. For exam ple, he thought that moro effective bcenes might bo made, at times, by photographing actors "closo up," cut ting oft their legs and arms with the frame of the picture and showing only their faces many times enlarged ; also, he had a theory thnt ono might heighten the dramatic suspense by "cutting back" from one scene to another, in stead of following ono line of action in n monotonous oequenco through nn en tire photoplay. The directors and actors and camora men of those days, who would no sooner havo thought of taking n character's picture from tho bust up than of tak ing the picture upside down, were nevertheless Interested In this eccentric ehnp and even asked his ndvlcn from tlmo to time. Finally, the eccentric got his chance ns n director to try out n few of these radical theories. His "Ulrth of n Nation" changed tho en tire technique of the motion pictures. jyTANY noted directors received their " training in directing plays for the spoken stage, ns, for example, Hugh Ford Others, like Murshnll Neilan or Allan Dawn, came in from outside professions. Without exception those who havo acnieved distinction In tho film world hatn been keen students of motlon-nln. turcs. Hence the ambitious nmatcur wno really wants to "break In" should stoie up all the knowledge ho can ac quire relative to tho profession ho cou templates taking up. Perhaps the best school of Instruc tion, next to tho studios themselves, Is jour local motion-picture theatre. Tliero jou cun stud" the work of the players, directors, scennrio writer and cameramen to jour heart's content, and you will leuru much If you watch closely with nn unolvtlcnl eyo. You should so as many motion pic tures ns possible, preferably the belter ones, though you can also profit by the tontrnst which the presentation of a poor production will givo. The right innd the wrong way of doing things will ' then be emphasised more dearly. ;wnny directors nnd pinjers view n picturo over nnd over again In order to get the fullest benefit fiom their studv of it. The picture is to them whut the textbook is to tho school student. Just ns the coilego student goes over nn Important lesson ropeatedly until he has mastered It thoroughly, so does tho progressive professional man or woman In motion pictures absorb rwerv detail of a film which convejs any learning of importance. The value of this method of study need not be stressed : it Is quite obvious. And we believe the nma tcur would be well lepaid by adopt Inglt. (These "Tabloid Talks" are con densed from the material for a booh . by Mr. Emerson and Mist Loos to be puol'sned by the James A. McOann Oomsanti, New, York.), yi THE STORY DEGINS with the early days in the old Fine Arts, studio in California, when Col leen Moore, tho Oish girls, Bessie Love and a host of others were not mtioh more than extra girls. Diana Cheyne relates the tale! she begins with the day in the studio when alio and Isabel Ileath, not stars then as they are now, tir slttinp on tho stain when a strange man came into the studio and looked at them. Tho cameraman called them down to meet htm, and it proved the turn ing point in Isabel's life. He was Phil Oranev, a famous director from the eastern studios, and ho taught Isabel to be the first of the screen's "baby vamps," and engaged her for such a part in a photoplay he was producing. NOW GO ON WITH THE STORY CHAPTER XII IN THE weeks tnat followed thnt dance I "went about a great doal with Keith Gorhani. When we were out on loca tion his long led roadster would arrive somo tlmo during tho afternoon, and when my work was over I'd rub off my make-up, chango my clothes, put on my big, woolly white coat, nnd we'd go skimming off over tho hills and along the winding road by the eca, bound for home. When wo worked nt tho studio he'd tnko mo. to luncheon, when I had time to go, or bring me wondorful things in o. picnic basket when I had to stay in the studio. And almost every night we danced somewhere, or went to tho movies, or rode by tho sea in tho moon light. I know that peoplo were talking about me, fast and furlourly. Rut I didn't care. We wore doing just what half tho boys nnd girls of our age all over tho country woro doing, Just having a won derful time together. I'd never played around that way, except one summer when I vlsltod n cousin of mine who lived in Rochester, and I enjoyed every minute of it. I didn't care whether peo ple talked or not. Ono thing thnt I liked about Keith and In n desptrnte effort to forget Derry I was trying to Ilka everything about him that I could was the way he talked to me. He paid me compliment, and tho other men I knew ncvor did thnt. Derry would sny, perhaps, "You were stunning in tiint scene, I)i ; hope tin.. won't cut it before the picture's re leased." or something llko thnt. And one day, when ho and I wcro in tho pub licity man's office, looking nt somo new pnotogrnpiis oi mine tout were to tie sent to tho newspapers, ho said : "This one's n corker you're beautiful In it. Can I have tho original. Dl?" The publicity man had added, in n mnttcr-of-fi'ct way, "Sure, fehe photo graphs pretty well, ns n rule but look at this one Would you bdievo thnt she could look like that? Awful!" And I'd scrawled "To Derry from Dl," ncrois onj of the photographs and given it to him. He never said, ns Keith did. "Diana, jour hair Is simply wonderful," or, "Di, you hnvc the most gorgeous eye I've ci ir seen." Dorry saw life, ns I did, through the lens of n motion-pic-turo camera, while Keith had tho nor mal poreon's outlook on It. And I must r.dmlt that I liked thnt. Ills aunt didn't llko his plnylng around with me, I knew, but I was liming n good time, and I didn't core. Somebody else did, though, ns I found when Malcolm Sandy Bent for me. He was the head of one of the big gest organizations making pictures, and hnd done so much for the development of the motion-picture Industry that every one respected him, which wns saying n good deal In the industry nt that time! I hadn't supposed that he even know of my existence, and when. as Keith was ordering dinner for hlm-L self and mo at tne Alexandria, l no ticed In the newspaper I was glancing through that Mnlcolm Sandy hnd ar rived from New York, I tnought very little of It. Rut tho next night, when I got home late from the studio feeling too abso lutely exhausted even to move, I found a metisngo from his secretary asking me to call him up tho next morning. And when I called, and Mr. Sandy himself talked with me, and said he would llko l-HOTOI'LAVS HOTO-PUts' COMMKV y . .OfAMtMCA AlU-.mU.- 12th, Norrli Pasiyunlt Av. Ainamura mi. niw t a: Kyi., nt; & o DOROTHY DALTON In "IIEHIND MAHKH1 A I I PfUCMV rrankford & Allhny ALLnAjnC.rN I at. Dully 3-1 1 Rvbs. at 8 GLORIA SWANSON In "TIIK (1RKAT MOMENT" Apnt i r can & Thompson stb. rlJL.lAJ MATINKD DA1LT MAE MURRAY in "Tin: n,nr.n i.n.v" ADZ-'ArMA chestnut ni J-If.Ulf in A. M. to 11MB r ELSIE FERGUSON In "rOOTIJOHTH" M ACTHD KHANKlilN A U1HAHD AVE. MO 1 Ur MATINKR PAII.Y DOROTHY DALTON In "HKHI.ND MAHKH" BALTlMOKLircvi1:. " bat.' mat' ELSIE FERGUSON In "BACH KI AND VllOFANK I.OVK" UI7MM MTU AND WOODLAND AVE DCININ MATINEB DAILY ALUBTAU CAST In HE MIM.E'H "THE LOST ROMANCE" ni i tiroion limaa hui. a rjL.UCDllL Contlnuoua J until tl HEKNA OWEN and E. K. LINCOLN In "The Woman God Changed" BROADWAY BW,BlydoV: THOMAS ME.GHAN In "THE CONQUEST OPCANAAN" road at. (Jasino sfAT I)AlhV WALLACE REID In "TOO MUCH HPEKD" rAPITOl " MAHKET 'IT. Url 1UL io a M to 11 1.1 P. GLORIA SWANSON In "THE (1RKAT MOMENT" M. COLONIAL ?Sf 7 S'rr &vm GLORIA SWANSON In "THE CIRKAT MOMENT" DARBY THEATRE WALLACE REID In "TOO MUCH SPEKO" ITMPDFQQ MAIN ST, MANAYUNK tlvli rvrioa matinee daily COSMOPOLITAN PRODUCTION "The Woman God Changed" FAIRMOUNT 8BihAT,N,!!l?,rJAt,rv ROSCOE (Fatty) ARBUCKLE In "CRAZY TO MAURY" CAIWIII V THEATRE- mil Markt St rMlVUl-il BAM TO MIDNIGHT COMEDY DAY A ""' "r HH'TOMKnV PETUItPS 56TH ST. ''"'""t'i'V,0 .""7 CONSTANCE TALMADGE In "ItANOEnOPH 11UH1N1ISH" FRANKFORD " V",I,D" Wht' Your Wife Worth?" taUHH VA.UDKVHXB wt l:Ul lf i i 'SMwiik MP: Sf $ Fritz Leiber Is King Solomon In "Tho Quoen of Shoba." Mike Migglns, the assistant director, Is showing him a photo of the Queen to sec me thnt morning nt 11, I nearly collnpscd. I threw my clothes out on the bed and looked them nil over, trying to decide what I'd wear. "If auntie doesn't see me on the way out of tho house, I can get away 'with earrings," I told Colleen Moore, who'd come rushing over when I called her up nnd told her the news. "Earrings nothing!" she exclaimed, shaking out the white serge suit that I'd tossed on n chair. "Sir. Sandy wants to sco you about playiqg a pnrt in ono of his productions, most likely, and he's picked j-ou becnuso he liked the way you looked on the screen. And you've never yet worn earrings In a pic ture. You put this on nnd do your hair tho way you always do and wear my white Tain look natural, If you want to make an impression on him." It wns good advice, too; I've often thought of It when I've noticed tho girls sitting in tho waiting room outside tho casting director's office, waiting to ap ply for work. Usually they're so be curlod and powdered nnd painted that their own.mothers wouldn t know tnem ; they don't realize that the director has to discount nil that make-up when he's judging them as screen material. .Mr. Sandy was awfully nice to me. He said that he hud been watching my work Imngine that, when I wouldn't even go to see my own pictures! And ho wanted to have mo make two pic tures for him, as leading lndy for a male star whom he had just signed up, one of tbj) best in tho business. After that, if j-ou please, he waB going to star mOTOl'UlYS 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. ' m DRF B"01 MARKET ST. -aL,VOH, . Bnd n.ao t0 jj THOMAS MEIGHAN In "THE EASY ROAD" GRANT lO.'J UIIIAIID AVE. matiijiib rjAir.Y THOMAS MEIGHAN In "MI1TK AND LNMAUHIED" GREAT NORTHERN STVWS! CLARA KIMBALL' YOUNG In "t'HAUGK IT" IMPFRIAI w" walnut am. 11V1I CIMrtL. Jim,, ji a Ev, 7 W ROSCOE (Fatty) ARBUCKLE In "CKAZY TO MAHKV' Lehigh Palace "'""'"JiWnS COSMOPOLITAN PRODUCTION "The Woman God Changed" I 1RFRTY UKOAD & COL-UMIIIA AV. I.lDll 1 I JIATINIil! DAILY THOMAS MEIGHAN In "THE CONUt'EHT P-'AXAAN21 O VERBROOKUJU "Y.BU I IT'N PAIIAMOLNT WEEK DE 'mU.I.K'H "THE LOST ROMANCE" PA1 ACF VJU MAHKHr HTltELT I -H-VV1 jo A ir 0 J, ib j. M BETTY COMPSON In "THE ENDJIP TIIEV OUJ-D PRIMr'F'CC'lu'ia MARKET HIREET I lin.UUa au A M., to 11.15 P. M. WiLLIAM S. HART jn "THE MLENTJjIAN" RFC.FNT aiARKilf ht iimow m-if n.,.-. IH3 A M in 11 P. M ENRICO CARUSO In "MY COUSIN" RIALTO UKKMAMOWN AVENUE PARAMOUNT'H HI'PKK SPECIAL "nFPFPTinw" 'DECEPTION' RUBY AKKBT T 11ELOW 7T1I DOUGLAS MacLEAN In 'MINE A .MINUTE" SAVOY V'U 'AKCf HTlulET i,... . . . 2 A M """o flDIaIlT WILLIAM S. HART In "THE WHISTLE" SHERWQOD BAT .fif'. M !n"m'lTK AND rNMAItltlKll" STANLEY MAIXCT ATHrrii 333 MARKET"7,if7?V? iwjrfuiiinn vaoa i-nnngea VICTORIA ((l.rr--,-rm .nw.r Mi:i.niiiiPH niom rriov " LE1P .S"70111 Impersonation" WM. PENN 4J."'- . 'Tr-A7Z CONSTANCY TALWo'c'r' ta "UMsojJiN raw. "US0JJiN XOYK," mo if my work showed that it was t visable. "Rut you'll have to work harderttU you've ever worked beforo In your Uf," he told me. "And well, to put It vtrr bluntly, you'll have to slvo nn m, nlng around as you'vo been doing tlti young Gorhnm. Oh, I know that lt'i been perfectly nil right, Just a boy sal ?irl affair, but you see he's the ton of i amous father, a man of great wttltt who's known all over tho East, ail even the Now York papers have coa mented on the friendship between jm two. "Now, I'll give you every chsncili tho world. I think you nnd I, betwM us, can make you one of the hlnut stnrs in the motlon-picturo busineu it a year. Rut it will mean giving up young Gorhnm, child. Is it worth it) ' I sat quite still for a moment, won derlng. I hadn't been very happy la my work lately nnd I didn't know mail stnrs who were happy. Yet welTl thought of tho old Fine Arts studio ui of perching on the stairs there on ralnj days, watching the Glsli girls rotiearU; I thought of the fun of making up fori rent part nnd of the thrill that wool! go btralght through me when I hurt the dlicctor say "Lights camern!"fir a Dig scene of mine. Then I thoobt of being a star of seeing my name ii electric lights and havlnir nennle nvrt. where know mo and doing the kind ol I scones i wanted. And 1 said "lei." I didn't know then how hard it wu going to be to give up Keith Gorham. CONTINUED TOMORROW rnOTOFLAVH MOTWUyp ftfcThe NlXON-NIRDLlNGERfrt J THEATRES J BFI MONT B2D A00 MARKET OCJlVlWl'N 1 a 80 kn(i g so to 11 P. W- GLORIA 8WANSON and MILTON SILLS Ii "THE GREAT MOMENT' rPriAR "or" & cedar avent viLy-rv s.so at)(1 .sn , ji p, m, WALLACE REID In "THE I.OVK HPEC1AL" COLISEUM "iSKgAfi WILLIAM S. HART In O'MALLEY OP THE .MOUNTED' JUMBO FRONT BT. & aiRARDAVI Jumbo June, on FrankforS l THOMAS MEIGHAN In "THE PKONTIKIt OP THE STABW 1 FAnFR 1ST A LANCASTEIl AV L-IL.-L-Cr MATINEE PAILT WILLIAM S. HART In "THE NHIbTLE" I fin KT BD AND LOCUST STIIEO,' LUV.UJ1 j,, 1-30, 3 SO Kvrn II 30 to II OLOIMA KIYANIOV imil MILTON RILH "THE GREAT MOMENT RIVOLI 02D lSZha "DECEPTION" PARAMOUNT 8UPKR HI'F.CIAI STRAMD QBRMANTOWN AVB. (JLOKIA SWANROV nnd MILTON glH I "1HK GREAT MOMEN 1 AT OTHER THEATRES MEMBERS OF M.P.T.O.A.' Germantown BB1 SI'tTskSp , TIHOMS H. lNrr.' ., "THE CUP OF LIFE" JEFFERSON '$ DOUGLAS MacLEAN In "ONE A MINUTE" PARK ,UDrM51AVK . . i t.itiv 8T h r u i " WILLIAM S. I-ART In "lllr! WHIM I I" IPinn.ll . nA. .n. . . 1- t kll.thlVi WL5I ALLEUHENY '"..in.. wJ JACK HOJf.T la DK MH.MP" i3j "THE LOST-ROMANCER i A tf 4 t-CHfeA' JL. 'iV-.. '." tyt r. .v.V V, f x 4&oii .M-
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