Motography (Jan-Jun 1918)

352 MOTOGRAPHY Vol. XIX, No. 8 Ford Educational Weekly (Ford Motor Co.) — "These are the best weeklies I ever ran and all you have to pay for them is the express." — George H. Done, Gayety Theater, Payson, Utah. The Neglected Wife, with Ruth Roland (Pathe) — "The crowd has grown. with this interesting serial." — L. Dean Sands, Sands Theater, Warsaw, Mo. The Bull's Eye, with Eddie Polo (Universal) — "Just started this serial and find it exceptionally well liked. A good drawing card." — Miss C. Benesch, Bell Theater, Chicago. The Fatal Ring, with Pearl White (Pathe)— "A very good serial."— L. Locklud, Plaza Theater, South Bend, Indiana. A Daughter of Uncle Sam, with Jane Vance (General— "The greatest drawing card that ever struck this town." — J. Meehan, Orpheum Theater, Muncie, Ind. A Daughter of Uncle Sam, with Jane Vance (General— "Stood them up for two shows. Have run two episodes."— L. Locklud, Plaza Theater, South Bend, Indiana. The Red Ace, with Marie Walcamp (Universal) -"Chapter 4. A good serial. Business good with fifteen below zero weather, and no children under fifteen years of age admitted by order of the Board of Health." — L. Stevens, Bijou Theater, Alpena, Mich. The Lost Express, with Helen Holmes (Mutual) —"Chapter 11. An extra good all around serial. Business extra good in spite of very gold weather." — L. Stevens, Bijou Theater, Alpena, Mich. STATE RIGHTS AND SPECIALS The Garden of Allah, with Helen Ware (Selig) — "A really big picture which can be featured with special arrangements. Photography excellent. Big business in spite of rain. Broke the house records." — A. H. Cobb, Jr., Temple Theater, Hartsville, S. C. Today, with Florence Reed (Rapf) — "Seven reels. 'Pink permit' for Chicago. A very good drama and it holds the interest throughout its entire length. The title is a little odd, but it is a story dealing with a 'wife who sells her soul for a jeweled dress on the auction block of today.' It is directed by Ralph Ince and has many rich settings. The photography is a little faint in some spots." —Charles H. Ryan, Garfield Theater, 2844 Madison St., Chicago. — In middle class neighborhood. The Barrier (Rex Beach Co.) — "A fine picture, worthy of much publicity, but it did not draw for me." — H. C. Johnson, Crystal Theater, Stamford, Texas. Mother, with Elizabeth Risdon (McClure) — "A great picture but too sad. A good comedy must be shown with it to offset the sadness." — A. Lowy, Century Theater, Chicago. Vitagraph Gets Director Hurst Albert E. Smith, president of the Vitagraph company, announces the engagement of Paul Hurst, well known director and leading man, as co-director with David Smith in the production of "The Woman in the Web," the fifteen episode serial in which Hedda Nova and J. Frank Glendon are to be starred. Mr. Hurst assumed his duties last week with the beginning of work on the third episode of the serial, which is being filmed at the western Vitagraph studio in Hollywood. Mr. Hurst is known principally for his work in the direction of the "Stingaree" series for Kalem and also is recalled for his handling of the screen version of "A Lass of the Lumberlands." He is less than thirty years old, but has won a reputation as one of the best directors of "thrills" in the industry. He is a native of California, received his stage training with the Elitch Garden Stock Company in Denver and has had one of the most rapid rises to prominence in the film world. David Smith, senior director of "The Woman in the Web," says he thinks his stars staged one of the most daring scenes ever filmed when Miss Nova and Mr. Glendon in the first episode leaped from a burning bridge across a chasm in an automobile. Going at forty miles an hour in a closed car, the players drove down a steep embankment onto the bridge, and with the impetus gained by the race down hill, leaped twenty feet to the opposite shore. The next day, Glendon, none the worse for his experience, leaped from a window to a treetop 38 feet below and escaped without injury. Vitagraph officials expect "The Woman in the Web" to be even more thrilling than "The Fighting Trail" and "Vengeance — and the Woman," Vitagraph's other big serials. Mary Goes Mr. Hoover One Better There is one sure-way of getting around the problem of complying with Mr. Hoover's orders to conserve food and still be able to use it in motion pictures. This is the way it was done in "Amarilly of ClothesLine Alley," Mary Pickford's new Artcraft vehicle. The scene was a dinner at the humble home of Amarilly and naturally corn beef and cabbage was quite the proper thing. But this could not be simulated. A roast turkey — yes, easily, with papier mache imitations. But cabbage? Impossible. Marshall Neilan, the director, agreed with Miss Pickford on this point. Corn beef and cabbage there should be. Then Mary had an idea. "We'll use the real thing," she declared, "but we'll wait till lunch time and then when we're through — we will eat the properties." She had another flash and phoned for her mother to meet her at the studio at noon. And corn beef and cabbage is a favorite dish with Mrs. Pickford. The lunch was a success. There was no waste — moreover, the scene will be thoroughly realistic.