Motography (Jan-Jun 1918)

March 2, 1918. MOTOGRAPHY 427 his film work, and it will entertain them. It is a good offering for any theatre whose patrons like comedy-dramas and light plays. The story: Marmaduke Ruggles, valet to the Honorable George, becomes the stake in a game of draw poker between the English aristocrat and Senator Floud, who is traveling with his family in England. When the Flouds return to their home in Arizona they take Ruggles with them as the valet to Cousin Egbert, Floud's cousin, a typical westerner of the old days. Cousin Egbert, now greatly attached to Ruggles, dubs him "the Colonel" and the newspapers come out with a story to the effect that the distinguished "Colonel Marmaduke Ruggles" of London is visiting with his American friends, the Senator Flouds. Ruggles is dazzled by his overnight distinction and finds himself Red Gap's greatest idol. There is nothing to do but live up to his reputation. Then he starts a fashionable restaurant in Red Gap. The Honorable George, who comes to Red Gap to visit the senator does not give the story away. But Ruggles is still not Americanized and the interest the Honorable George shows in "Klondike Kate," leader of the town's Bohemian element, disturbs him so much that he sends for George's brother. The brother arrives, meets and falls in love with Kate and marries her. Ruggles' snobbishness is fast disappearing. His restaurant flourishes. He becomes an American business man and marries the Widow Judson, who had aided his success. Call Tucker "Apostle of Silence" "The Apostle of Silence," George Loane Tucker is called at the Goldwyn studios. The new general manager of production is a believer in the power of silence both in the drama and the studio. Few directors can invest a screen situation with more eloquence than George Loane Tucker, nor can any studio factor so imbue his workers with the knowledge that silence is an aid to greater efficiency. His method of direction relies largely on quiet selfpossession. No one has ever heard Mr. Tucker raise his voice; neither has he been known to relax his vigilance because his voice happened to be silent. In fact, his players feel that they are under a mental magnifying glass because of this unceasing scrutiny. His suggestions and comments are made in low, even tones with never a needless word or an order open to change. His direction is almost telepathic. It is proof of his belief in silence and its potent effect. The same rule applies to studio activities in general. The Goldwyn studios in Fort Lee are as quiet as a library— or as quiet as the movement of many workers will permit. There is no place where so much thought is required as a motion picture studio, says Mr. Tucker, and noise kills thought. 'The Shuttle" to be Ready Soon Out at the Morosco studios in Los Angeles final touches are being placed on Constance Talmadge's recently completed Select production, "The Shuttle." In this, her first picture to be made since her arrival in the west, Miss Talmadge has combined the lighter touches of comedy with the heavier demands of drama, as in her earlier release, "Scandal." Unlike "Honeymoon" and "The Studio Girl," "The Shuttle" provides her with an impersonation of unusual force in which her deeper vein of dramatic ability is given ample opportunity for expression. The story is a film adaptation of Frances Hodgson Burnett's well-known novel, "The Shuttle," and tells a tale of romance and international entanglements which furnishes excellent material for the screen. In it the star as Bettina Vanderpoel, brilliant and resourceful young New Yorker, comes to the rescue of her older sister who had years before married a dissolute English peer, but in rescuing Sister Rosy she herself falls victim to the wiles of Cupid. The play is filled with tense moments and the action moves rapidly. Work on "Up the Road with Sallie," Miss Talmadge's next Select production, is well under way and promises a return to her lighter comedy vein. All of her pictures are distributed by Select. Who Was It? You? Will the exhibitor who sent in reports on "His Picture in the Paper," "American Consul," "Broadway Arizona," "The Dummy," "The Man Without a Country," and other features, but forgot to sign his name or address, please supply these? Then Motography can publish his reports. The film that first made motion pictures practical is easily identifiable by the words "EASTMAN" AND "KODAK" on the film margin. EASTMAN KODAK CO., ROCHESTER, N. Y. Warn Theaters of Fake Collector An imposter who claims to be a revenue officer is operating among the moving picture theaters in the South, according to a report received by Collector of Internal Revenue E. B. Craig, who is stationed at Nashville. Collector Craig and his force are endeavoring to locate the man. Meanwhile they have issued a warning to theater owners to beware of paying war revenue to anyone until assured that the collector is actually an employe of the government and has with him a properly signed commission and seal, or unless the collector is personally known to be what he represents. April Blue Ribbon Releases Albert E. Smith, president of the Vitagraph Company, announces his Blue Ribbon feature release list for April as follows : April 1 — Gladys Leslie in "Little Miss No-Account," written by Edward P. Smaney, directed by William P. S. Earle. April 8 — Alice Joyce in Robert W. Chambers' novel, "The Business of Life," directed by Tom Terriss. April 15. — Earle Williams supported by Grace Darmond in George Barr McCutcheon's novel, "The Man from Brodneys," directed by Thomas Mills. April 22 — Harry Morey with Florence Deshon in "A Bachelor's Children," written by William Addison Lathrop, directed by Paul Scardon. April 29— Nell Shipman with Alfred Whitman in "The Girl from Beyond," by Cyrus Townsend Brady, directed by William Wolbert. Mr. Smith directs particular attention to his April feature program as further evidence of the carrying out of his "best authors" policy as announced a number of months ago. Walter Finnigan Reed, a famous Irish comedian known from one end of the coast to the other as a fun-maker, has been added to the Arbuckle scenario staff, of which Richard Warren is editor. Fatty and Walter are old partners in musical comedy and the jovial "Finnigan" promises to introduce some of their old stage gags in the Paramount-Arbuckle comedies.