Moving Picture News (Jan-Jun 1913)

THE MOVING PICTURE NEWS 23 Manufacturers* Synopses of Films GAUMONT FOR TWO PINS (May 22).— Mrs. Doodledum had the sobriquet of "The Old Scratch" because she wears hatpins which protrude beyond the edge of her hat and stick into people's faces, leaving marks of disrespect. She is a human porcupine, and persons whom she encounters in crowded places come to resemble Swiss cheeses on account of her puncturing pins. A law is passed forbidding the wearing of hatpins unprotected by guards. Mr. Doodledum, thinking to please his wife, buys two guards for her. A stubborn hussy is Mrs. Doodledum, and she swears by the nine lives of her pussy that she will not wear the shields and that she prefers her hatpins nude. While maneuvering and arguing the point with her husband a hatpoint grazes his eye. He pretends that he has teen punctured and makes a great ado, putting a large cloth over his head, making him look as though he is trying to keep his hair from becoming sunburnt. Mrs. Doodledum, regretting her obstinacy, waits on him hand and foot, and then some. She finally discovers that he is fooling her. She pretends that she has injured her knee. Accordingly both are laid up, although they really are in perfectly good running order. The doctor is summoned and prescribes an eyeshield to be put on the injured knee, a kneecap put on the wounded eye. Mrs. Doodledum tires of the masquerade and, pulling the bandage from her husband's face, denounces his deception. It is then discovered that ki-isses and em-bra-ces are the best little remedies for marital illnesses. THE LIGHT THAT KILLS (May 27).— Mrs. Smithson, a beautiful, cultured widow, takes a strong interest in Dr. Louis Jordan, whose application of electric rays, discovered by him, have been successful. Though Jordan has achieved many cures by his "A" rays he has been attacked by the powerful penetration and his left hand has already begun to wither. As no one else can apply the treatment with the same safety that his own expert knowledge commands, the scientist continues his labors with heroic sacrifice. Mrs. Smithson acknowledges her love for the scientist. She suggests that others should continue his practice; that he should spend the rest of his life in health and happiness. Feeling that life holds something sweeter for him Louis Jordan makes over the plan of his work to his pupils, preparatory to his departure to a warmer climate. As he is about to join Mrs. Smithson a poor woman implores him to treat her little son, who has been given up as a hopeless case. Failing to persuade her that his pupil can effect the same cure, the master undertakes the operation himself, knowing well that the rays which save in one case are fatal to himself. He realizes that to abandon his work for the sake of his own personal happiness is to be false to science, and is an indication of weakness. When the operation is over he writes to Mrs. Smithson, asking her to forgive him for not seeing her again: "I could not love thee, dear, so much, Loved I not honor more." is the sentiment of his letter. Professor expresses that it will be an ample reward if, when she returns next summer, she will drop some flowers in the olaces he used to love. Within the year the professor has gone the way of the heroes who sacrifice their lives in saving their fellow-creatures. When the woman he loved returns to the scene of his labors she learns that his noble spirit has been inherited by his favorite pupil, who takes the blooms she brings and puts them in the "places he used to love." KINEMACOLOR STEAM.— Two real love stories interwoven with the pictorial history of the discovery of steam power and its application to inventions that revolutionized the world. This characteristic Kinemacolor combines historical, scientific, dramatic, biograph'cal and educational interest, for it shows the develop ment of steam power from the period when James Watt discovered its ability to lift the lid of a tea kettle — and deduced therefrom the hoisting engine for use in the English mine pits — to its culmination in the modern high-speed locomotive. The chief incidents in the lives of the inventor of the first steam engine and George Stephenson, who built the first locomotive, are woven into the story — which includes the homely romances and happy marriages of both these homespun geniuses. Furthermore, the film shows a faithful model of the original Watt engine in operation, and also a working reproduction of Stephenson's queer-looking locomotive. The first trip of this historic engine is shown in the story — even to the humorous detail of the man on horseback riding ahead of the train and waving a red flag to warn the unsuspecting public off the track. In one of the beautiful vision scenes — which Kinemacolor has developed so wonderfully of Ip+e — Watt dreams of the moving engine which is to come after his time, while Stephenson in turn has a vision of the ultimate development of his locomotive. In this concluding picture is shown one of the largest and most powerful high-speed locomotives ever built drawing a tram of Pullman coaches at the rate of a mile a minule through the picturesque mountain scenery of California. MODELING EXTRAORDINARY— An absolutely novel trick subject, full of amusing and unexpected developments. Only those in the know will realize the time and trouble that a film of this kind represents. The title writes itself in neat, round hand from a little ball of putty that travels over a dark background. This is followed by the words "Kinemacolor-Urban-Smith Patents." A man then appears, trying, evidently without any great success, to make some pretty models. Suddenly, to his amazement, the putty begins to mold itself into shapes. It first takes the shape of a bantam, which crows at the astonished individual who stands watching the amazing development. A heap of putty then forms into a spray of leaves; a beetle attaches itself to the end of the spray and forms a bud, wlfich then opens into a bloom. A second bloom eventuates as a result of the same process. A little model of the typical music-hall presentation of a Jew next armear. It twirls rapidly and becomes a hat. This becomes an iced cake, and that in turn a royal crown. As this slowly revolves, gems appear on the bars. A lump of putty rolls itself out flat over a table; then suddenly curls itself up, and, behold! two towers! Other pieces of putty roll towards it and unfold themselves as essential portions of the fabric of a castle. In the end the castle has a drawbridge and flies a flag. LUBIN THE PADRE'S STRATEGY (May 13).— Ramona Martinez, a beautiful Mexican flower girl, is the support of her widowed mother and they live in a cottage on the outskirts of the city. One day while out gathering flowers for her basket s'~e meets a Mexican youth and they are mutually attracted to each other. In time the acquaintance ripens into love and they are happy. Ramona still continues to sell her flowers in the cafes and other public places, and she and Jose plan that some day they will have a little home of their own. Manuel Vasquez, the leader of a band of Mexican guerillas, comes to the city one night and enters a cafe where many of the army officers and better class of Mexicans are enjoying themselves. Ramona passes from table to table, and finally comes to where Vasquez is seated. He is fascinated by V'er beautv and resolves to win her for himself, either bv fair means or foul. He speaks to her, but she repulses him. He leaves the cafe and calls his lieutenant and one of his band and tells them that they shall get the eirl and bring her to him in the mountains. They go to the cafe and, as t^e girl leaves, they lie in wait for her. She is overpowered and carried away by the bandits. Jose, who is coming to meet her and take her home, sees the abduction, but is too late to be of any service. He enters the cafe and tells of Ramona's trouble. The habitues of the place are not interested in the flower girl, and Lis appeal for aid is unheeded. He then decides to go to the priest and ask for aid. He does so, and while there a messenger comes from the bandits, asking that the Padre accompany the messenger into the mountains to perform a marriage ceremony. The Padre hits upon a plan whereby they can rescue Ramona, and he gives Jose a priest's robe and they arm themselves. They then accompany the messenger to the stronghold of the bandits. As the ceremony is about to be performed, the Padre and Jose suddenly draw the guns and overpower the two bandits and bind them. The Padre and Ramona then leave the camp, she dressed as a priest, and go for aid for Jose. They take two of the bandits' horses and start on a wild ride for the city. Arriving there, they go for the cavalry, which immediately sets out for the rendezvous. They surprise the bandits and capture the entire band. As they are led away, Jose and Ramona kneel and receive the blessing of the Padre. LUX A MIGHTY HUNTER (May 16).— A hunter recounts his adventures to his admiring sweetheart. That day a wild beast makes a raid upon a farm and the hunter is called upon to prove what he can do. Discretion overpowers him and he decides that he is safer in bed than waiting for the animal. The wonderful way in which he hunts the lion shows him to be a mighty hunter, but a mightier ■'. On the same reel: PAT MOVES IN DIPLOMATIC CIRCLES — This is an amusing comedy, showing the alarming results caused by a mistake op the part of some representatives of the French government who are sent to meet the new ambassador of Illyria. The ambassador postpones his departure, and Pat, who is traveling by the train which he should have taken, is mistaken for the illustrious person. His behavior is not becoming to an ambassador, and leads to a serious rupture in the diplomatic relations between France and Illyria. ESSANAY THE STORY THE DESERT TOLD— One who has not traveled across a desert barely realizes what a trying and dangerous thing it is. The sheriff of Desert Valley, California, receives a letter f;om Mrs. Tom Decker, requesting the former to send Marjorie Day to her. A volunteer is called for, to risk his life in escorting the four-year-old child across the sandy plain. John Hartley steps forward and promises to protect the child will, his life. That day Bill Barratt, an outlaw, is arrested and lodged in jail for the murder of Jim Ellis' child. That night the sheriff is informed that the men of the village are going to lynch Barratt. Sheriff Mackley handcuffs the p-'isoner, places him on a horse and takes him into the desert for safe keeping. In the meantime, John Hartley's mule succumbs to the heat. Being out of water, he tells Marorie he will go for some and return shortly. Hearing a child's cry, Mackley and his prisoner arc quick to find the thirsty infant. Mackley returns to his horse, which had been left a few rods away, only to discover that the ani mal had galloped off. Without water, they are in a hopeless condition. Jim Barratt promises to guard the wagon until the sheriff can return to town, where he takes the almost lifeless form of the young child. When the men returned to the deserted wagon, they discovered the lifeless form of the outlaw, Jim Barratt, who had kept his promise. AMERICAN ANGEL OF THE CANYONS (May 12).— Jim Beverley was an untrained, natural artist. His sweetheart, Madge, often visited him while at work in the mountains, but never completely sympathized with his work. She wanted his whole love and attention. Bill Hogan was much beloved by pretty Carrie, but he, being also in love with Madge, ignored her. Bill felt that Jim's ability to paint was what had won Madge's heart.