The Moving Picture Weekly (1916-1917)

HE MOVING PICTURE WEEKLY -27 Neal Hart's father and his children, Neal, Hanna, Charlie and Mary in 1882. MoveOvor One-Reel Nestor Comedy t Released Week of Aug. 20. You have to hand it to the Nestor Company for an unbroken line of successful one-reel comedies. They are sure-fire— Eddie Lyons Lee Moranj and KDITH ROBERTS. In "Move Over," Eddie is in a hospital and nhen L,ee calls and sees how Edith and the other nurses make life delightful for Eddie he changes places with that young man who is convalescent and wants to go to the ball game. They start to operate on Lee and then the deception is discovered. It's a merry story full of laughs. Grab It. The True Story NEAL HART {Continued from page 25) tie ranch. Later he inspected horses for one of the foreign governments. But — not on these statistical stages in the career of Neal Hart, motion picture star, does his family dwell when, at the close of a hot day, you are seated on the porch of the big yellow house of Uncle Charlie, one of the most famous horsemen in the country. And if you meet a Staten Islander on the street and ask for Neal Hart, you'll get something like this: "Nealy? Well, I just guess yes — he's the salt of the earth, Nealy Hart is — a regular prince, that boy!" Only his family doesn't put it just like that. Rather, very reluctantly, its members relate those big little things which make you know instantly that Neal Hart is all there. Much has been written about the college bred cowboy of pictures and undoubtedly, before many moons, much more will find its way into public print, f or Neal Hart possesses every characteristic of the screen star welcomed by men, women and children in every part of the universe — a man who went into pictures for iDure love of horses and the open and whose work, in every detail, reflects this love. But, however much there may be written or said, nothing can be more sincere or substantial than the regard in which he and his family are held by their associates. To quote J. Worrel, Editor of the Staten Islander, "He is in every way the distinguished son of a distinguished family." Tales of his popularity — of his prowess as an«athlete may be gleaned on all sides. One story is told of his saving six men at sea, in a storm. While working for his uncle, James A. Hart, West Pointer, and head of a construction company with offices at 256 Broadway, in building a road, between Thurman and Warrensburg, N. Y., there comes to light the story of a gang who would not move and who moreover never could be made to move — unless their leader so willed. But — he did, after a few rounds with Neal. Almost impossible it is to write of the Harts and not of horses, so inalienably is their history connected with famous hunters, jumpers, racers, meets, and events in which Neal Hart so brilliantly scored. Their entire conversation is of the days when men wore red coats and high hats and allowed their hearts to trip to the bay Baby Neal. of the hounds. They are justly proud, though very modest in their praises of the horsemanship of Neal Hart. They share his ambition, to learn the pictureacting business from its every angle. "I want to do this," he writes, "to learn every bit of its every stage. I love the happy Universal family, gathered in Universal City — the busy days just cramedjammed with hard work." "I was rather afraid he wouldn't earn his salary," said Father Neal as he mentally approved son Neal's "Swede Hearts," aa presented at a local house recently. "But," he reflected, "Nealy sure does, and — doesn't he register enjoyment in the doing?" And one was again confronted by the question: "What other vocation gives back as much as the movies?" Neal Hart first attracted attention after joining the Universal through his work in a photoplay of such a character as almost to establish a new kind' of moving picture. This photoplay was entitled "Love's Lariat," and (Continued on page 38)