Moving Picture World (Jan-Mar 1915)

524 THE MOVING PICTURE WORLD January 23, 1915 "Ridgeway of Montana" Picturization of Wm. McLeod Raine's Big Mining Story to Be Released by Universal. Reviewed by Margaret I. MacDonald. THERE is sometliing about a mining story, something about the precarious, speculative atmosphere that clings to it, and something about the men who mingle in this double-daring life that appeals to the individual whose path is set along the ordinary humdrum lines of life; and that applies to most of us. Therefore "Ridgewav of Montana" with its men of many kinds, its moments of wintry storm and blizzard, its temptations, and its peculiar shifting of situations is more than ordinarily well adapted to the screen, from the standpoint of the audience as well as that of the exhibitor. The opportunities afforded for fine dramatic action and in Scene from "Ridgeway of Montana" (101 Bison). telligent direction are limitless. In this production, which will appear under the 101 Bison brand, and which has been staged by Henry McRae, special care has been taken to provide attractive exteriors; and the gathering of the storm in the mountains will no doubt be a point of considerable comment, so effective is the manner in which this has been presented. One scene with only the tops of the evergreen trees and a menacing sky of shifting clouds to be reckoned with, is a fine example of artistic photography; and a sequel to it is the gathering of the storm lower down in the valley. Later the blizzard sets in with full force, bringing with it one of the situations of the picture, where Ridgeway falls in love with the pretty wife of his enemy, unaware of her identity. The basic point of the story is a contention between two mining factions, one of which is headed by Waring Ridgeway, and the other by Simon Harley. As a last resort, failing in the eflort to buy Ridgeway over, Harley is instrumental in blowing up the mines, which incident affords a splendid opportunity for spectacular effect in the picturized version of the story. Some excellent scenes depicting the lowering of the manladen hoist to the various levels of the mine have been presented in the film, which has many points of interest. It is to be regretted, however, that a more concise version of the story had not been presented. One or two inconsistencies appearing in the sample print shown to the press will doubtless be erased before the picture, which is in three reels, makes its bow to the public. HORKHEIMER BELIEVES IN STARS. H. M. Horkheimer, president of the Balboa Company, Long Beach, California, states that he will not stop adding to the number and strength of his stars with the engagement of Henry B. Walthall and Ruth Roland. On the contrary, he will announce the engagement of a number of others just as soon as he can do so without embarrassing them in their present positions. "Good stars who have won names for themselves in the motion picture world," declared Mr. Horkheimer, "cost my company not one cent. I secure their services free and make a profit besides. That sounds like a ridiculous statement ijntil it is analysed, but I will illustrate what I mean by saying that with an ordinary cast, the members of which are capable, but unknown, I can secure the regular price per foot for positives. With Ruth Roland and Henry B. Walthall not only can I get from 25 to 50 per cent, more, but there will always be a ready market for me." Wilbur Collier Hudson WILBUR COLLIER HUDSON, who is pictured here as "Owen Garraway" in the late James A. Heme's famous play, "Hearts of Oak," has signed with the George W. Lederer Stage Filmotions as assistant director and leading character man and will be seen exclusively hereafter in the feature film productions of that company. Mr. Hudson's work in the drama proper is too well known to need extended mention here, coniin..; from one of the oldest representative American theatrical families, a nephew of the late James W. Collier who in his day besides being the idol of the theatergoing public was together with his partner, the late Sheridan Shook, proprietor and manager of the old Union Square Theater, and the largest producing manager of the country at thai time. Lizzie Hudson Collier, one of our foremost leading women of today, is his sister. The late Edmuml K. Collier, the tragedian and successor of John McCullough was his cousin and practically his tutor. Mr. Hudson is one of the few younger men of the stage who has received the thorough training that was exacted of the actor back in the day.s of stock companies such as Wallack's, Daly's, The L'nion Square, etc. His first experience in "picturedom," was with the Edison Company under Edwin S. Porter, now of "The Famous Players," about the same time that that excellent director, J. Searles Dawley, forsook the theater for the studio. When Mr. Porter severed his connection with the Edison firm, Mr. Hudson returned to the stage via vaudeville, where he starred for several seasons in an original "drama-ette," "The Underworld," which by the way was the first of the plays dealing with the lives of the "neither half." Returning again to the "celluloid drama" as a member of the first Reliance Company, then controlled by Bauman & Kessel. remaining with that company through the management of J. V. Richie. Mr. Hudson will shortly be seen to advantage in George W. Lederer's Stage Filmotions visualization of Bayard Veiller's last season's success, "The Fight." Wilbur C. Hudson, in Character. NEW LASKY GLASS STUDIO NOW COMPLETE. Mr. Samuel Goldfish announces the completion of the new glass studio erected by the Jesse L. Lasky Feature Play Co. in Hollywood, California, which has been in the course of construction for several months. The Lasky buildings in Hollywood now occupy the space of three city blocks, and only about twenty miles away is the new Lasky ranch, with its 20,000 acres of land and its extraordinary varied scenery. The glass studio is intended primarily for the taking of interior scenes and is especally useful for elaborate lighting effects. A REAL HEAVY IN "TIME LOCK NUMBER 776." The first heavy in the new production of the Photo Drama Company entitled "Time Lock Number 776," featuring Joe Welch, one of the best-known comedians on the stage today, is Ed. McKay, a big powerful fellow with massive jaws, arms long enough for main masts and hands that resemble hams. He is one of the white hope professional boxers and recently fought Al Reich, Gunboat Smith and more than a score of the top notch fighters in the heavyweight division. When he picks up the hero and carries him up or down the stairs to the counterfeiters den it is simply byplay and light exercise for this ideal heavy.