Motography (Jan-Jun 1918)

March 2, 1918. MOTOGRAPHY 405 Thais (Goldwyn) — February 23, February 16, February 9, March 2. Their Compact (Metro) — February 2. They're Off (Triangle) — February 2. This Is the Life (Fox) — February 23. Thou Shalt Not Steal (Fox)— February 9. Today (Pathe)— March 2, February 23. Tom Sawyer (Paramount) — February 23, February 16. Torture of Silence (Pathe) — February 2. Treason (Bluebird) — February 23, February 16. Treasure Island (Fox) — February 23. Triumph (Bluebird) — March 2. Trouble Buster (Paramount) — March 2. Twenty Thousand Leagues Under the Sea (Universal) — February 9. Two-Bit Seats (Kleine) — March 2. U Under False Colors (Pathe) — February 9, February 2. Under Suspicion (Metro) — March 2, February 16. Understudy (General) — February 2. Universal Screen Magazine (Universal) — February 16. Until They Get Me (Triangle)— February 23. Up or Down (Triangle) — February 16. V Valley of the Moon (Paramount) — February 23. Varmint (Paramount) — February 2. Vengeance and the Woman (Vitagraph) — March 2, February 16. Virginian (Paramount) — February 2. Voice of Conscience (Metro) — February 23, February 16. Voice on the Wire (Universal) — March 2. W Wall Street Tragedy (Mutual)— February 9. War's Women (State Rights) — February 9. Weaker Sex (Triangle) — February 2. Weaver of Dreams (Metro) — March 2. Web of Desire (World)— March 2. Wee Lady Betty (Triangle) — February 2. When False Tongues Speak (Fox) — February 9. Whims of Society (World)— March 2. White Raven (Metro) —February 16. Who Goes There? (Vitagraph) — February 9. Who Loved Him Best? (Mutual) — February 16. Who Is Number One? (Paramount) — February 9. Whom the Gods Destroy (Vitagraph) — February 2. Wild and Woolly (Artcraft) — February 16. Wildcat (Mutual) — February 9. Wild Girl (Select)— February 9. Wild Sumac (Triangle) — February 2. Winding Trail (Metro) — March 2, February 16. Winning of Sally Temple (Paramount) — February 2. Within the Law (Vitagraph) — February 9, February 2. Wolves of the Rail (Artcraft) — February 23. AVoman and Wife (Select) — February 23, February 16. Woman Beneath (World)— February 2. Woman God Forgot (Artcraft) — February 16, February 9. Woman's Awakening (Triangle) — February 2. Womanhood (Vitagraph) — February 9. Wooden Shoes (Triangle) — February 2. World For Sale (Paramount) — February 16. Coincidence In "The Reason Why" Lucille, Lady Duff-Gordon, creator of women's fashions, it taking an active interest in the filming of "The Reason Why," a dramatization of Elinor Glyn's well-known novel of the same name, which Clara Kimball Young is planning to make as her next Select production. In ignorance of the fact that Lucille and Mrs. Glyn are sisters, Miss Young went to the famous designer for the purpose of ordering gowns for the picture. During the interview the title of the play was mentioned and Lady DuffGordon at once became keenly interested. She explained to Miss Young the relationship between herself and Mrs. Glyn and assured the star that her own personal attention would be given the gowns. In consequence, "The Reason Why" is destined to go down in film industry as one of the most extravagantly costumed pictures of the day. Miss Young has ordered nineteen gowns in all. These include evening and morning and afternoon frocks, dinner and tea gowns, robes d'intime and sports clothes. Sets are now being constructed for the picture and work is scheduled to start immediately. "The Reason Why" is one of the most popular of Elinor Glyn's novels. It was first published serially in a New York magazine and later brought out in book form. The gayest of European society forms a background for the action of the story and the characters are tinged with romance and high adventure. The screen adaptation has been prepared by Mary Murillo and the picture will be directed by Robert G. Vignola. Vankee Way (Fox) — February 23, ary 2. February 9, Febru Zaza (Paramount) — February 16. Zeppelin's Last Raid (State Rights) — February 9. Canada and U. S. Work Together Canada exhibitors are watching conditions in the United States closely these days. It is plain now that there is very close co-operation between the governments at Washington and Ottawa and the exhibitors are able to anticipate many regulations in a general way. ' There is a strong feeling in Canadian film circles that the next step by Washington will be to save daylight during the greater part of the year by moving all clocks forward one hour. If this move is taken in the states, as indicated by the latest dispatches, then Canada will follow suit. Toronto exhibitors are already trying to figure out means to offset any adverse influence which might arise from moving the clock hands. Toronto streets now resemble those of London, England, on the night of a raid. All exterior illumination of buildings has been cut off, thousands of street lights have been shut off, absolutely no store window in the city is illuminated and candles and coal oil lamps have been revived. Not one electric light is allowed on the front or entrance to theatres. The only outside lighting permitted is that from the exterior emergency exit lamps. Even the interior lobby illumination is cut down. A number of the larger downtown theatres, including the Allen, Globe, Rialto and Red Mill have obtained permission to use gas lamps with reflectors in order to light the entrances. Some exhibitors asked to be permitted to use several exterior electric lights as a safeguard for patrons, but they were refused. The theatres are also prohibited from using electric lights behind glass signs which bear the names of current attractions. It is impossible as a result to depend upon any electric illumination to find any theatre while riding along in motor cars or trolleys. It is even sometimes difficult to find a theatre at all, yet the theatres are handling good crowds. Saturday, February 9, and Monday, February 11, were heatless holidays for all factories, office buildings, etc., with certain exceptions in both Ontario and Quebec, but the theatres were allowed to remain open. The result was that all moving picture theatres in Toronto did a wonderful business on both days. Practically every film theatre in the city was filled to capacity three or four times on both days. This business, local exhibitors believed, would make up for losses which will be encountered through the closing of theatres for five successive Mondays starting February 18.