The Moving Picture Weekly (1917-1919)

THE MOVING PICTURE WEEKLY 35 UNIVERSAL CITY GROWING. NOTWITHSTANDING the fact that Universal already has a tremendous area of floor space for stages and studios to accommodate its many activities at Universal City, continual additions are being made to its producing facilities. When Carl Laemmle visited the plant recently, he laid out such an elaborate program of productions for the coming year that the technical department decided it woujd require additional floor space to house the many new companies that will soon be engaged in making features. A force of mechanics was at once put to work to erect an additional light studio, measuring 400 by 150 feet, and capable of accommodating an average of twelve settings of the most pretentious variety. Constant changes are being made at the film city, which claims to be the largest of its kind in the world. There is scarcely a week passed which does not see some new improvement in the equipment, some novel acquisition in the production department or some new facility installed for the making of better films. Streets of every nation dot its acres; villages depicting: all comers of the earth are represented with true fidelity; on its huce stages, and in its manv covered studios, there are under construction everv day settings of every type ranging from hotel to palace. Three new feature productions have been started at Universal City this week. These are: "The Girl in No. 29," Philip Hum's adaptation of the novel by Elizabeth Jordon, starring Frank Mayo under direction of Jack Ford; "Bullet Proof," a drama of the Great West, written by John Frederick and starring Harry Carey under the direction of Lynn Reynolds; and "The Daring Dutchess," a comedydrama directed by Harry Franklin and featuring Edith Roberts. THE BULL THROWER." 2 Reel Rainbow Comedy. (Copyright 1920, by Century Comedy Company.) Featuring Edna Gregory, Phil Dun ham and Billy Engel. Directed by J. A. Howe. fJENERAL dissension and disorder reigns supreme in a Mexican town. A generous reward is offered for the capture of a dare-devil bandit who has been roaming at large. Phil Dunham, a peaceful individual while riding through the countryside, throws his lassoo at random and ropes the bandit, who, unoeKnowiioi to rhil tags on behind, diagged aiong by the horde. Pnu enters t..e Mexican town and is welcomed witn loud cheers and acclaimed a hero ior his daring and braveiy. The Mayor of the town makes him Chief of Police and cans the regular chief. Jealousy enters into the scheme of affairs between the two, especially on account of their rivalry for the Mayor's beautiful Spanish daughter. The Mayor decides the question of his daughter's hand by a promise to reward the one who succeeds in throwing the bull at the bull-fight to take place. Phil emerges victor and wins the hand of the beauteous maiden. NEW SCREEN MAGAZINE NO. 53. JOHN SHELL, of Leslie County, Kentucky is the oldest man in the world. Records confirm his statement that he is past 131 years old. He was 73 years old when the Civil War began and was rejected for service because of his age. His descendents number into hundreds. The marionette show, of ancient origin, exists in almost every country with some variations. Japan has them too, and hundreds of people find joy and amusement in watching the little figures dance to the tune of an American phonograph. A novel idea has been devised by Little Jean Margaret Telaak's parents who are vaudeville performers. They carry Jean in a wire cage with a cover on it. A kiddie tournament in which the brave Sir Knightss whose emblazoned shields bespeak mighty deeds of valor, make deep obeisance from their prancing chargers to the good Queen Youth and her court, and some actual advertisements appearing in metropolitan dailies complete this issue. "A Sagebrush Gentleman." 2 -Reel Western Drama. CAST. Tex Dean Robert Burns Martha Hawley ....Charlotte Merriam 'J'HE Pacific Limited stopped for water at the desert station of Coyote. Martha Hawley got out for a breath of air and left her shawl hanging on the rail of a baggage truck. June Martin, the millionaire's daughter was on the train and three gentlemen of the road had formed a plan to kidnap her and hold her for ransom. Tex Dean, a cattle rancher came to the depot to get a paper and he had a few words with Martha on the subject of a slighting remark she made about Westerners. Martha got back into the train but remembered her shawl and got out again. The bandits mistook Martha for June Martin and they kidnapped her. On the road Martha stuck a hatpin into the bandit who was riding in front of her. The bandit fell off and was stunned and Martha got away — but she fainted by the roadside and there Tex Dean found her. He took her to his ranch intending to take her to the depot for the morning train, but the trains were all snowbound at the pass and Martha had to stay. She didn't believe Tex when he said that he didn't kidnap her, and she contrived to get a message through to her brother who came hot-foot to her rescue. While he "and Tex were quarreling over the question as to whether Tex kidnapped Martha or not, the bandits got busy again, bagged Martha and got away with her. Tex rode to the rescue, defeated the bandits and proved to Martha that a man may be a gentleman even if he is of the sagebrush variety. AUTHOR, AUTHOR VAN LOAN. (Continued from page 4.) Nearly five months spent in the making, over a half million dollars expended on the production, nearly 4,000 actors and extras used in the various scenes and nearly 100,000 feet of negative film exposed are marked up against this picture on the debit side of the Universal ledger. On its credit side are a story of overwhelming interest, the inimitable acting of Priscilla Dean, supported by such screen celebrities as Wallace Beery, Wheeler Oakman, E. A. Warren, Edward Bums. Eugenie Ford, Clyde Benson, Ethel Ritchie and Yvette Mitchell, a subtle presentation of the mysterious atmosphere of the orient and the fine direction of Tod Browning. Exactly forty-six magnificent sets were erected at Universal City for the filming of "The Virgin of Stamboul." While sections of Constantinople and Stamboul were reproduced; the exterior and interior of the famous mosque of St. Sophia, were built with great fidelity to the original; palaces, harems, shops, cafes, bazaars, cofTee houses and dozens of other structures were erected for this production. Weeks were spent on the desert, where a minature city was built for scenes in this photoplay. Before Carl Laemmle, president of Universal, left Universal City for New York recently he had an opportunity to see the film in the rough, and he expressed himself as fully satisfied that the huge expense in making this feature has been fully justified. *