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32
The Moving Picture Weekly
May 20, 1922
One of the Best in a Lond Time /
Vriies ' Paymond Goar Mayf lower Theatre Florence. Kan.
IT'S that kind of a picture. BEST * in returns — BEST in action — BEST in getting the crowd! Book it and make your receipts the BEST you ever had.
Carl Laommle
presents
HARRY CAREY
Directed b^/Roberr Thorn by
UNIVERSALJEVEL
Hoot Qibson To Do New Western If He Doesn't Break Neck
UNIVERSAL has finished "Trimmed and Burning" as a starring vehicle for Hoot Gibson, and the Western star is snorting around the Fresno motor race saucer as Eddie Hearne's mechanician. He will ride with the famous racing pilot for the thrill of it until his new story is ready or until he breaks his neck.
The story which is being prepared for him is "The Cherub of Seven Bar," by Ralph Cummins. There is some talk about changing it to "The Sheriff of Seven Bar" on the theory that every one will call it that anyway.
Anent titles, George Randolph Chester, who is at Universal City, considers the title, "Trimmed and Burning," an infringement on his Wallingford psychology. The hero of the Universal Western drama, however, does his trimming and burning along different lines. The story concerns a soldier who comes home to fight. He arrived at his home town with his chest encrusted with medals, but swaps them for a sheriff's badge and takes the home sector like the M. P.'s took Paris.
Harry A. Pollard, director of "The Leather Pushers," starring Reginald Denny, will direct it. Actual work will start in a day or two. Pollard also directed "Trimmed and Burning," a Hapsburg Liebe's Ozark Mountain story, finished on the day of the star's wedding to Helen Johnson, Orpheum beauty.
Universal Breaks
Production Record
MOTION picture men are interested in the achievement of Universal in turning out a five-reel feature in fourteen working days without sacrifice of quality. The production is "Afraid to Fight," starring Frank Mayo. William Worthington directed it.
A remarkable break of luck enabled the director to wreck records and maintain standards.
The story concerns a big fellow who becomes a prize fighter to keep his mother from want. Most of the sequences were filmed in Doyle's arena at Vernon.
OVER a hundred arc lights from the Universal City electrical department furnished illumination for fourteen cameras in the famous fight pavilion. Hundreds of boxing fans filled their customaiy seats and battlers who slug for the finals pounded away in the ring to win, lose or draw. Ninety-six scenes were made in three days in the ring, itself a record.
Mayo, whose greatest work has been as a fighting hero, has his most interesting role in "Afraid to Fight." He was supported by Lillian Rich, the British beauty, who was the original reason for the unusual speed in filming the production. Miss Rich was selected for a big role in "The Kentucky Derby," wThich King Baggot will film as a Universal-Jewel. To release her for Baggot, Mayo and Worthington, his director, agreed to ruin the records for shooting time. Miss Rich now is on the train for Kentucky. "Afraid to Fight" is on its way to the screen and directors have a new record to shoot at.