The Moving Picture Weekly (1920-1921)

— THE MOVING PICTURE WEEKLY 11 Service Page AT A GLANCE SUBJECT— " The Girl in Number 29." STAR — Frank Mayo. PREVIOUS HITS— "A Little Brother of the Rich," "The Brute Breaker," "Lasca," "The Peddler of Lies," "Burnt Wings," etc. DIRECTED BY— Jack Ford. STORY FROM— "The Girl in the Mirror," Novel by Elizabeth Jordan. SCENARIO BY— Philip Hum. SUPPORTING CAST— Claire Anderson, Elinor Fair, Harry Hilliard, Ray Ripley, Robert Bolder, Arthur Hoyt, Bull Montana. LOCALE— New York and Long Island. TIME— The Present. THUMB-NAIL THEME— The story of an uninspix-ed playwright whose friends an-ange a real life melodrama in order to furnish him with a plot; the neartragedy which results and the turn of events which transforms it into a comedy. ADVERTISING PUNCHES 1 — The ever increasing popularity of Frank Mayo. 2 — The fact that Frank Mayo represents the third generation of distinguished American dramatic stars. 3 — The comedy within a tragedy that makes the story unique. 4 — The popularity of Elizabeth Jordan's novel, "the Girl in the Mirror," upon which the photoplay is based. 5 — The strength of the supporting cast, which includes Claire Anderson, Elinor Fair, Harry Hilliard, Robert Bolder, Ray Ripley, Arthur Hoyt and Bull Montana. 6 — The melodramatic climaxes which are transformed into farcical situations. 7 — One of the finest rainstorm effects ever secured. 8 — A thrilling fistic battle between Frank Mayo and Bull Montana. 9 — The direction of Jack Ford, the producer of "Marked Men" and other notable successes. 10 — Actual scenes in a metropolitan theatre on the opening night of a popular success. for "The Girl in No. 29" CAST Laurie Devon _ Frank Mayo Barbara Devon Elinor Fair Rodney Bangs Harry Hilliacd Doris Williams Claire Anderson Jacob Epstein Robert Bolder Ransome Shaw Ray Ripley Shaw's Secretary Bull Montana Devon's Secretary Arthur Hoyt THE STORY LAURIE DEVON and Rodney Bangs wrote a successful play. Laurie was the genius — Rodney the plugger. Devon refused to try to write another — because he was rich. He lacked an incentive. When Laurie looked in his mirror one morning he saw the reflection of a beautiful girl, seated at her window with a revolver raised to her forehead. She thrilled him. He raced over to her studio apartment around the corner, and prevented her from committing suicide. It was natural, too, that Laurie Devon should appoint himself guardian of this wonderful girl who called herself Doris Williams and seemed to be in constant fear of some terrible influence. The terrible influence proved to be one Ransome Shaw, a villainous person who followed Miss Williams everywhere and finally decoyed Laurie into a mysterious abode and dumped him into the cellar for the night, during which time Shaw made off with Miss Williams. But Laurie was hot on their trail the next morning, with his speedy roadster, and by night he had traced them to an old farmhouse on Long Island. Disguising himself as a mechanic he cleverly carried off Miss Williams who was being held a prisoner. All under the cover of night. But just as their getaway seemed certain, Shaw himself showed up, and Laurie for the third time had to fight against fearful odds. While Miss Williams waited in the car, Laurie fought his last fight with Shaw. This time they used revolvers and Laurie saw Shaw crumple up on the ground as he fired his last shot and dashed off to take Miss Williams back to safety. Returning to his apartment after his terrible ordeal, with the girl safe and sound, his friends burst in upon him and tell him that all the harrowing events of the past few days had been pre-arranged especially to provide him a thrill and a plot for another play, and that all the principals in these episodes, from Miss Williams to Ransome Shaw, were actors engaged for the occasion. Laurie then informs them that their little drama had worked fine for it resulted in his killing a man. Miss Williams asked to see the gun. "It's the weapon you took from me," she said, "and it was loaded with blank cartridges." ADVERTISING DISPLAY LINES Frank Mayo, the two-fisted, hard-riding hero of "The Brute Breaker" and "Lasca," is the same steel-muscled fellow in "The Girl in Number 29," if he does wear a "boiled shirt" and dinner jacket. In his mirror he saw the image of a beautiful girl reflected from the window of a nearby building. She held a pistol to her head. But she didn't shoot. See Frank Mayo in "The Girl in Number 29." The delightful mystery, the thrill, and the romance of Elizabeth Jordan's novel, "The Girl in the Mirror," have been enhanced in "The Girl in Number 29," the Universal film story of the story. He found the girl of his heart in a mirror. See Frank Mayo in "The Girl in Number 29." Fiank Mayo in "The Girl in Number 29" bests Bull Montana, a burly professional wrestler, in one of the most terrific rough-andtumble fights ever shown on the screen. Laurie always knew he could write a play. After proving it he refused to work any more. The plot evolved to stir his ambition fascinating theme for "The Girl in Number 29."