Motography (Jan-Jun 1913)

Record Details:

Something wrong or inaccurate about this page? Let us Know!

Thanks for helping us continually improve the quality of the Lantern search engine for all of our users! We have millions of scanned pages, so user reports are incredibly helpful for us to identify places where we can improve and update the metadata.

Please describe the issue below, and click "Submit" to send your comments to our team! If you'd prefer, you can also send us an email to mhdl@commarts.wisc.edu with your comments.




We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.

Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.

92 MOTOGRAPHY Vol. IX, No. 3 with a laugh — not that knocking a tooth out is anything to laugh at, Mr. Carney assured me — and he answered, very seriously, "No." "Saving somebody?" I ventured. "Not quite so heroic." "O, a fight!" "No; biting on a sandwich in a noonday ranch scene." "A sandwich! What was the matter with it?" "I didn't make it. I never knew what was the matter with it, but I know I had to gallop into town to get another tooth before the scene could be finished. "But outside of getting my shoulder burned one day, when I was playing a female character and my clothes caught fire, I've never been hurt in picture work. But I had a narrow escape in the mountains, one time. We had finished a scene and were going further up to make the next one. I was tired and got into the stage-coach, which carried the props. Everybody else, except the leading lady, who rode with the driver, walked. "We jogged along slowly and quietly, when suddenly there was a jolt and the coach toppled over. I could feel it going over and over, on the long drop down into the ravine, and pictured the awful plunge of the horses. I began to wonder what stopped us and crawled out and looked around for the debris ; but there was none. The leading lady and the driver were picking themselves up out of some bushes into which they had jumped, the horses were standing placidly nearby and the coach, minus its front wheels, was on its side but otherwise intact. Something had broken and the two front wheels stayed with the horses and I stayed with the coach. Now, whenever we go into the mountains, I walk." "What do you do with your spare time in Chicago ?" I wondered when the incident of the coach had been il lustrated by the teller and laid to rest. And Mr. Carney explained that, after he gets done falling over chairs and off of things, out at the Essanay studio, he grabs his hat and coat, puts them on en route to the car, dashes from the car to wherever it is on the north side he is staying, hurries through dinner and migrates loopwards to the Auditorium and grand opera. Or, if the night happens to be that of Tuesday, he very often doesn't even have time for dinner but packs his suit-case with his "Alkali Ike" costume and hurries off to talk an accompaniment to "Alkali" pictures, once or twice an hour, at some motion picture theater. It is midnight when he arrives home, and he gives thanks that there is nothing to do 'til tomorrow. "I've only had three Sundays to myself since I came to Chicago," declared Mr. Carney, "and I've been here since October. Talk at matinee and evening shows on Saturdays and Sundays and even spent New Year's eve and New Year's day that way. "But since I've limited appearing at theaters to Tuesday nights only, I've been able to attend the opera, so I go every night. We seldom get good music out west and I'm hearing all I can now." "Going back soon?" I inquired of the black-haired, pleasant man with the dark eyes with the twinkle in them, who was busy with a sputtery pen, autographing a photograph of himself. "In a few weeks," he replied, and delivered a final, touching little eulogy on the beauties and opportunities of the west, concluding with the oft-heard advice, "Go west, young woman, go west." "So long, until then," he said, as I set out into icy, slippery Edgewater, and "So long," I returned, but lacked courage to add that Aurora is about as far west as I ever expect to get. Current Educational Releases The Bulgarian Army in the Balkans.— Eclipse. Shows the Bulgarian forces near the town of Jardzello at the time of the beginning of the hostilities with Turkey. Many inspiring views of the troops in their preparations for war are depicted including the forward movement of the infantry and cavalry, mounted and dismounted target practice, a charge of the troops by Tsar Ferdinand. The whole world has been astounded at the fighting ability displayed by these armies of the Balkan states, in their encounters with the Turkish forces ; how they have beaten, time and again, the "Terrible Turk," who has been considered almost invincible upon the battlefield. Judging from the fearless riding and the wonderful precision with which their drills and marches are executed, as is shown in this film, the Bulgarian soldiers have few superiors, if any. The Ainus of Japan. — Selig. The Ainus of Japan represents the aborigines of Japan residing on the Island of Razu, the oldest existing people of the world, barring the cliff-dwellers of our own continent. They still preserve many of their old traits. The Great Prayer of the Arabs. — Pathe. Amongst the Mohammedans, after the beyran or feast which follows the fast of the Ramadhan, extraordinary public manifestations and long prayers are made. In this film the Arabs assemble in vast numbers for the great prayer, and the spectacle is impressive and unforgettable. The ceremony is held in the open and the thousands upon thousands of costumed Arabs, each with his little prayer mat, make an interesting study. Along the Columbia River. — Pathe. Scenes along the Gateway to the Northwest, including the most famous salmon fisheries in the world, and some prize specimens. Coming inland, immense agricultural projects are exposed to view, remarkable enough to hold the most elusive spectator. The Pitcher Plant.— C. G. P. C. This film is a remarkable series of views of a remarkable plant. The pitcher plant grows, as its name suggests, in the form of a pitcher with a lid upon it. It is an unfailing trap for insects, inviting them within its folds and then drowning them in the water it contains. The trapping of flies, bees and other insects is cleverly and clearly demonstrated. The Chameleon. — C. G. P. C. A film explaining the characteristics and nature of this well known member of the lizard family, which makes a prey of all insects, capturing them by means of a viscous tongue the length of its body. This is truly the reptile with the allseeing eyes, for it can turn them in any direction. It is easily tamed and makes a great pet in some countries. The Story of Bread. — International Harvester Company of America. A wonderfully interesting film is