Motography (Jan-Jun 1918)

March 2, 1918. MOTOGRAPHY 399 than anything I ever played. The first chapter, 'My Mother,' is well done and shows the rough life of Lincoln's boyhood days. I predict that this will be one of the greatest episode pictures ever presented. We have received hundreds of letters about it and hardly an hour passes that we do not receive from one to twenty-five telephone calls asking about it. For a neighborhood house, this picture, if properly handled, is the greatest production an exhibitor can buy. Each exhibitor owes it to himself, as an American citizen, to exploit this picture, and also owes it to the memory of Abraham Lincoln. And besides, it will get money in every neighborhood." — H. C. Miller, Rose Theatre, Chicago. — Downtown house. The Hired Man, with Charles Ray (Paramount) — "A very good picture for Ray. This star is very popular." — Harry C. Miller, Rose Theatre, Chicago.— Downtown house. The Hired Man, with Charles Ray (Paramount) — "This is a typical Ray picture which went over big." — George H. Done, Gayety Theatre, Payson, Utah. The Mysterious Miss Terry, with Billie Burke (Paramount) — "The picture gets over and that's all. The story is not what it should be." — J. R. Baxter, Jr., Lyceum Theatre, Spring City, Utah. Arms and the Girl, with Billie Burke (Paramount)— "Better than her previous picture." — J. R. Baxter, Lyceum Theatre, Spring City, Utah. Arms and the Girl, with Billie Burke (Paramount)— "Good story, well liked. Big business." — Maurice Haas, Pelham Theatre, Philadelphia, Pa. The Trouble Buster, with Vivian Martin (Paramount)— "Very good. Went over big." — Maurice Haas, Pelham Theatre, Philadelphia, Pa. The Call of the East, with Sessue Hayakawa (Paramount) — "Very good picture. Big business." — Maurice Haas, Pelham Theatre, Philadelphia, Pa. Out West, with Roscoe Arbuckle (Paramount) — "Good comedy. A burlesque on western drama. Received many laughs. Al St. John and Buster Keaton are good foils for Fatty." — Charles H. Ryan, Garfield Theatre, 2844 Madison St., Chicago. — In middle class neighborhood. Poor Little Peppina, with Mary Pickford (Paramount— "A fine picture. A small house very well pleased."— Elmer W. Rice, Memorial Hall, West Point, N. Y. Countess Charming, with Julian Eltinge (Paramount)— "A good picture. Took well. Business good." — Maurice Haas, Pelham Theatre, Philadelphia, Pa. — Neighborhood house. The Ghost House, with Jack Pickford (Paramount)— "A splendid picture. Went over big." — Maurice Haas, Pelham Theatre, Philadelphia, Pa. Freckles, with Jack Pickford (Paramount) — "Pleased a capacity house. One of the most satisfactory pictures I have played."— C. F. Hansen, Strand Theatre, Warren, Minn. Nan of Music Mountain, with Wallace Reid (Paramotmt) — "A very good picture which pleased well and drew a big crowd." — George H. Done, Gayety Theatre, Payson. Utah. Nan of Music Mountain, with Wallace Reid (Paramount) — "Good outdoor picture with many snow scenes. Star is well liked and business was fairly good on a cold day. Theodore Roberts is in the supporting cast. Plenty of action and fights in the picture." — Charles H. Ryan, Garfield Theatre, 2844 Madison St., Chicago.— In middle class neighborhood. Bab's Burglar, with Marguerite Clark (Paramount)— "Subject fair. Plenty of comedy. Good business."— Maurice Haas, Pelham Theatre, Philadelphia, Pa. On the Level, with Fannie Ward (Paramount) — "S. R. O. Subject better than the average." — Maurice Haas, Pelham Theatre, Philadelphia, Pa. The Clever Mrs. Carfax, with Julian Eltinge (Paramount) — "Fairly good. Capacity business." — Maurice Haas, Pelham Theatre, Philadelphia, Pa. The Hungry Heart, with Pauline Frederick (Paramount)— "Miss Frederick's best photoplay, in my estimation. Big business. S. R. O." — Maurice Haas, Pelham Theatre, Philadelphia, Pa. The Son of His Father, with Charles Ray (Paramount)— "The biggest day this theatre ever had. A very good photoplay." — Maurice Haas, Pelham Theatre, Philadelphia, Pa. Freckles, with Jack Pickford (Paramount) — "Photoplay good. Good business in spite of bad roads. Patrons highly pleased." — John W. Baird, Crystal Theatre, Pattonsburg, Mo. — One thousand population. Jules of the Strong Heart, with George Beban (Paramount) — "Very good, with many a chuckle here and there. You will find everyone will like this picture. The star does not draw for us." — Charles H. Ryan, Garfield Theatre, 2844 Madison St., Chicago. — Middle class neighborhood. A Roadside Impresario, with George Beban (Paramount)— "The first Beban picture we have had that our patrons really cared for." — James M. Fulkerson, Union Hall, Smithfield, Utah. The Heir of the Ages, with House Peters (Paramount)— "Picture good. Good drawing power. Film £ood." — James M. Fulkerson, Union Hall, Smithfield, Utah. The Jaguar's Claws, with Sessue Hayakawa (Paramount) — "Very good. Our patrons go wild over this star." — fames M. Fulkerson, Union Hall, Smithfield, Utah. . The Pullman Bride (Sennett-Paramount) — "A good novelty comedy, the scene of action being on a train. Has the Mack Sennett original tricks and gets many a laugh."— Charles H. Ryan, Garfield Theatre, 2844 Madison St., Chicago. — Middle class neighborhood. The Antics of Ann, with Ann Pennington (Para