Moving Picture News (Jul-Oct 1913)

24 THE MOVING PICTURE NEWS EVERYMAN'S JOURNEY (Adapted from the Early English i\Iorality Play by Anita Hendrie Miles) A notable feature film soon to be released is the Kinemacolor production of the morality play of "Everyman." The theme of "Everyman" is that of universal mortality. Every man that lives must some day die. The play begins with a sort of prologue introducing the character of Everyman. Going his way through the beautiful gardens of the earth, Everyman is met by Death, who delivers a message from God, when he has Death least in his mind. He offers Death anything in power to be let of? but gets only the privilege of asking certain of his friends if they will go with him upon his journey. He first accosts Friendship. Friendship has no mind, however, for anything but dicing and drinking. Then to his Kindred, but Kindred sees no reason why he should follow his cousin Everyman on a way so weary. Everyman falters, but Death appears and bids him on. Next he thinks of Riches and exclaims: "All my life I have loved riches; perhaps he will help me now." But to his plea, Riches, greedy and of the world, will follow no man in such voyages. Only Good Deeds will follow Everyman, but alas, as she says: "Fain would I help thee, but thy Evil Deeds have taken away my strength. Call ICnowledge to help thee." LI.MiA h l' l Til .\.S ••K\ KKV.\I.\.\" And so she sends him to Knowledge, who in turn leads him to Confession. When Confession has shriven Everyman and given him tlic cloak of sorr(3\v and penitence, Good Deeds is strong again and can walk, and, accompanied by Strength and Beauty, Everyman with Knowledge and Good JJceds sets out on the inevitaiilc path to the tomb. Yet at the brink of the grave Strength and Beauty, too, take flight and aband(Mi him as Fellowship, Kindred and Riches have done. Everyman goes feeblohcarted at the desertion of the false friends. l)ut turns to Good Deeds with a new light. Good Deeds stands by him even at the grave. Supported and chastened by (lood Deeds, ICverynian com mends his spirit into the Lord's hands, and descends into the grave, for "None excuse may there be for Everyman, for after death amends may no man make." "Everyman" is a classic in the extreme sense of the term, of anonymous origin, its writer never having been known. It was first published in the fifteenth century, but it has created little attention until some time ago the Elizabethan Stage Society of London revived it. Since that it has been viewed by nianj' hundreds of persons in England and America. That the Kinemacolor production of it excels the stage presentation is obvious on account of the beautiful exterior settings, which render this, without doubt, the most beautiful presentation ever projected upon the screen. "FLYING A SIDELIGHTS" The first producer of the "Flying A" company is again back on the staff. The present line of exquisite American photography should make the future productions of J\ir. Ricketts stand out with telling effect. 'Mr. Ricketts came to the American with Jack Kerrigan in the fall of 1910, and his first production was "Romantic Redskins," the scenes of whi'~h wer» taken near St. Joseph, Mich. * * * * Before assuming the work of director, j\Ir. Coxen was seen in parts that created much favorable comment, and "Flying A" fans will be pleased to learn of his return to the work for which he is so eminently suited. It seems that even in the manual labor of handling American's new studio, Jack Kerrigan had to "have a hand in it." "Hurry up with that shovel," called the foreman in charge of a group of laborers hard at work on the water and sewer trenches in the new studio of the "Flying A" at Santa Barbara. Jack Kerrigan straightened up angrily. "Who are j'ou talking to?" he asked hotl}^ Then, remembering that he was onlj^ a common laborer and that the foreman could discharge him instantly, he bent once more to his task. But the harm was done. The foreman strode angrily to his side and ordered him out of the trench. Out of a job, hungry and friendless, he stumbled out of the scene. Yes, it was a picture — a great two-reel drama entitled "The Scapegoat," under direction of Lorimer Johnston, showing Mr. Kerrigan at his very best, and in which the whole gamut of human emotions is run. ^ ^ 4^ ^ During the rehearsing of a scene in "The Mystery of Tusa," a forthcoming American release. Mr. Kerrigan had a narrow escape from death. The producer had in mind a spectacular scene in which Mr. Kerrigan, U. S. Secret Service operative, is captured by bandits, bound hand and foot, and tied to a wild horse. The horse selected for the scene was the most restive in the stables of the American Company. He became startled and started to run, with the result that Mr. Kerrigan was jerked down an embankment, where the rope entangled around a tree and broke. But for this Mr. Kerrigan might have sustained fatal injuries. Jack says "Never again !" TWO MORE VICTORIES FOR THE RELIANCE BALL TEAM Saturday at Lenox Oval the Reliance players defeated Solax by a score of 12 to 1, and followed up that victory by another on the Eclair home grounds in Jersey City, Sunday afternoon, with a score of 10 to 4. Sam Smith, of the Reliance team, carried off the honors in both games by his clever work at the bat. In the Reliance-Solax game he succeeded in placing a long three-base drive over the center holder's head during the liflh inning with the bases full, starting a stampede over homcplate which continued until the last curtain. In the Eclair-Reliance game he sent his batting average skyward, by two home runs, two triples and a double. On the Fourth of July Reliance plays .\tlantic Highlands at the Highlands, and on Saturday, July 5th, meets the Lubin Champions in riiiladelphia. l^nusual interest is coiUored in the Lubin-Reliance game and both studios will attend in a body to support their respective teams.