The Moving Picture Weekly (1920-1921)

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■THE MOVING PICTURE WEEKLY 'S BAR-ROOM SCENES DENATURED BY PROHIBITION. JT was a sad, sad day at Universal City. The property man with doleful mien approached the set where Harry Carey, the cowboy film star, was working on his latest Universal production, "Bullet Proof." "Props" was almost lachrymose as he carried gingerly a tray with bottles and glasses. No gladsome cry arose at his coming. They knew, those players, that he was only the property man, not the servitor of some genial philanthropist who had set his mind on being host. The amber fluid in the bottles was only colored water. The glasses were for no real utilitarian purpose. Why should they be joyful? Sorrowfully Lynn Reynolds, the director, and Hugh McClung, the cameraman, gathered around Harry Carey, and the three of them gazed long at what once had been a full-fledged quart. Then Carey retired to a comer to gaze some more. Pretty tough, mates, pretty tough, to be working all day in a pseudo bar-room these days of the great drought. After the fitting tribute to the memory of his eminence, the late Mr. J. B. Com, they proceeded soberly with the making of the picture. They all expect to proceed soberly with everything else they do in the future. But has this anything to do with the reason they changed the title of John Frederick's story, "Luck," to "Bullet Proof"? Anyway, it's one of the S. R. 0. 12. JACK FORD DIRECTS "THE GIRL IN No. 29." ^Y'ORK on the latest Universal production, "The Girl in No. 29," is finished. This is an elaborate production, with one of the finest casts Universal has ever assembled for a feature photodrama. Jack Ford, who directed the most recent Harry Carey production, "Marked Man," heralded far and wide as the most perfect westem picture of the year, had charge of "The Girl in No. 29," and the cast includes such prominent players as Frank Mayo, Harry Hilliard, Claire Anderson, Elinor Fair, Ray Ripley, Ruth Royce, Robert Bolder, Arthur Hoyt and Bull Montana. It will be released as one of the S. R. 0. 12. "The Girl in No. 29" is based on the popular novel, "The Girl in the Mirror," by Elizabeth Jordan. It is a story of fashionable New York, bordering on the artistic, literary and dramatic circles. And the high plane in which the characters move does not detract in the least from the air of romance, mystery and thrill with which the story abounds. The leading character in the story is a young man of wealth who has written a successful play. His friends urge him to continue his literary career, but he is inclined to rest on his laurels. In order to stimulate his imagination his friends "stage manage" a great adventure which threatens to end disastrously for all concerned until the playwright's inventiveness evolves a solution to the problem which wins him added fame as well as the girl he had always wanted. EDITH ROBERTS, EXPERT HORSEWOMAN. yHE work of Edith Roberts with Frank Mayo in the Universal production, "Lasca," and the riding skill she displayed won her such popularity that she was immediately cast in the leading role of a film play that would give her another opportunity to show her ability as a horsewoman. The part Miss Roberts takes in her newest picture, "The Daring Duchess," one of the S. R. 0. 12, directed by Harry Franklin, gives her an opportunity to show her versatility as a screen actress as well as her expert management of a horse. The charming star wears a number of pretty gowns in the play, but many of her friends told her she appeared to best advantage in her chic riding habit. Miss Roberts likes to get a mount from the Universal City ranch when she has a few hours to spare and gallop around the adjoining country. She is an enthusiastic horsewoman off as well as on the screen. PHIL ROSEN DIRECTS MARY MacLAREN FILM. J^ARY MacLAREN, Universal star, who has just finished her newest photodrama, "The Road to Divorce," has for two or three years been known as the American beauty of the screen. Her beautiful head and bust have been modeled in clay by the famous California sculptor, Frederick Schmohl, while the magic brush of the New York portrait painter, Edward ScooU, has transferred her perfect profile to many a canvass. In her newest production, "The Road to Divorce," she divides her scenes with respect to her appearance. While as the young girl and the bride her beauty is seen to its full advantage, she appears careless and slovenly in other scenes, paying more attention to her household duties than to her personal adornment. "The Road to Divorce" was written by J. Grubb Alexander and directed by Philip Rosen. Bonnie Hill, Edward Piel, Eugenia Forde, Helen Davidge and Roy Stecher appear in support. It is one of the S. R. O. 12. BRANDS FROM THE BURNING. Universal Film Exchange, El Paso, Texas. Gentlemen: — "Pretty Smooth," with Priscilla Dean, will please any audience. It is entertaining all the way through. Yours truly, M. POIS, Gem Theatre, Wichita Falls, Tex. Universal Film Exchange, Des Moines, Iowa. Gentlemen: — "His Divorced Wife," with Monroe Salisbury, is a good picture. It gave fine satisfaction. There are some real thrilling scenes in this one. Yours truly, Mr. H. A. WISHARD, The Wishard Theatre, Bloomfield, la. Universal Film Exchange, Omaha, Neb. Gentlemen:— "The Exquisite Thief," with Priscilla Dean, went over good, and shows Priscilla Dean in the kind of pictures we like. Yours truly, A. L. HEPP, Idylhour Theatre, Greely, Neb.