The Moving Picture World (1908)

THE MOVING PICTURE WORLD •THE BUTTERFLIES." In a Japanese garden, gather maidens w ith nets to catch butterflies, all in the joy of life and budding maidenhood; fresh Irith sweetness of blithe Spring; the light fantastic toe "tripping" the limpid music arranged for this unique piece of art In a large cage a pretty colored butterfly is brought in, to delight the winsome maid- tns, who execute a pretty umbrella dance ere'the poor butterflies are forced to enter- tain the merry group. Scenes are passed and the pretty butterfly is imprisoned again in the cage. Forth from the sweet-scented garden appears the butterfly's companion; a cage opens and the two embrace and flut- ter to the sensuous music; when, lo! ap- pears the merry group of maids and master, who; in the agitation that ensues, catches the strange butterfly and cruelly cuts away the gossamer wings and leaves him trem- bling, feebler and feebler, to die. Then Nemesis, the avenging hosts of butterflies, gather and swarm about the cruel master and cast him into the cage, leading him away to be the victim of their dazzling, be- wildering dance. Around him they gather, and to the exquisite melody of a waltz they fill the scene with the wonder of their dance. Upon them floods of gorgeous col- ors in ever varying harmonies are thrown, suited to the rhythmic whirl of the music and dance. No more dazzling effect has probably been attempted than is here used, united in one grand harmony of light, color, music and dance. We understand the Society Italian "Ones" were commissioned by the King of Italy to compose fitting music for the famous Japanese Butterfly Dance and to arrange and present same at a lawn fete given in the gardens of the Quirinal Pal- ace, and under royal consent procure a cinematograph negative for presentation.to the world. FRANCESCA DI RIMINI is a Vitagraph production. Scene I.—The Letter. Francesca, sur- rounded by ladies-in-waiting at the palace. Her father enters, and together they read a letter from Lanciotto, asking for the hand of Francesca Both are overjoyed at the union of the two great houses in mar- riage, and the daughter retires to dress for Lanciotto's arrival. Scene 2.—Love at first sight. Francesca on throne. A page enters, announces ar- rival of the guest. Paola (Lanciotto's brother) enters, hands her the parchment from his brother—their eyes meet—it is love at first sight With an effort Paola withdraws. Francesca unrolls the parch- ment to find that Lanciotto has been called to war, and has sent his" brother to act as proxy until his return. Francesca is hor- rified as she realizes that her heart has been given to the brother, while Paola is dismayed at being false to his * brother's trust. After perusing the letter. Francesca gives her consent to marry the brother, and as the messenger leaves, falls back un- conscious. Scene 3.—The Bridegroom. The father, Paola and Lanciotto enter. The latter is misshapen and looks still more ugly in comparison with his handsome brother. Lanciotto |s introduced, advances to kiss .Francesca; she gazes upon her future hus- band, then recoils, disgusted and heart- broken. Scene 4.—The Wedding The church is Sled, with the court, the priest, Lanciotto jnd Paola waiting. -Francesca and her father arrive, the ceremony goes on; # the pnest pronounces his blessing. Lanciotto attempts to kiss his bride, but she shiinks from him. In despair and sorrow he real- izes his wife does not love him. At this point a messenger in great excitement en- ters, and announces that the bridegroom must go to the front immediately. He buckles his sword, leaves his bride in Paola's care and hastily departs. Scene 5.—The Lovers. Francesca and Paola are sitting on a banch in the palace gardens. He is reading to her, but the love existing is frequently shown in shy glances. Pepe, the court jester, brings a message from the "castle. Paola drops the book, and with a lingering farewell look, reluctantly leaves. In the hurry his cap has been forgotten. Francesca sees it, holds it to her heart, and kisses it repeat- edly. Paola returns, looking for his cap, and "starts back as he realizes what this action means. He takes her in his arms and kisses her ardently. Both vow eternal fidelity. Pepe, the jester, enters at this unexpected moment, unperceived by the lovers. Surprise, horror, then fiendish glee are depicted on his countenance as he rushes away to inform his master, Lan- ciotto. Scene 6.—Lanciotto is sitting musing over a fire at the camp. He is alone and is kissing a photo of his bride, as the jester staggers up and tells of his discov- ery. Lanciotto, in ungovernable rage, rushes madly about, bids the "tale-bearer" say his prayers, then stabs him to the heart, as the only way to prevent the tale from spreading. Scene 7.—Seated in a room at the castle, Francesca and Paola are in the midst of a love scene when the curtains directly back of them part and the haggard face of Lanci- otto looks down upon them. Expressions of despair, hate, jealousy and revenge rap- idly cross his countenance. As the lovers arise, the travel-stained husband enters; both fall back in horror and fear. They realize the fate in store for them, take one long last embrace and farewell kiss, as Lanciotto, enraged, stabs Francesca to the heart. Paola kneels beside the body and is himself stabbed by the thoroughly fren- zied brother. Lanciotto raises his hand to heaven as though to justify the deed, laughs insanely as he gazes down upon the dead, then stabs himself and falls dead. GALVANIC FLUID; OR, MORE LIQUID ELECTRICITY. This picture, a worthy successor to Vita- graph's "Liquid Electricity," opens show- ing an exterior view of the laboratory of "Prof. Watt, Inventor of Liquid Electric- ity." The first scene is taken in a park, where we see a nursemaid wheeling a baby carriage. The Professor sprays the girl with some of his wonderful fluid and she and the baby fly rapidly around the flower beds, then go out of sight. Further along the inventor meets four very decrepit old men, hobbling along on sticks and crutches. A spray and they dance, kick up their legs, throw the crutches away, play leapfrog, then sprint down the street. A chauffeur, whose auto has broken down, is asleep with both feet resting on the wheel. The professor's spray is played upon the crippled machine, -it springs for- ward and does several seemingly impossi- ble stunts. During this time a horse and wagon drives up and gets sprayed, and the horse, wagon and auto fly around. A mounted cop rides up, gets into the vortex". Now all whirl around, ■ including the mounted' policeman. A Jewish peddler comes along, tries to force his wares on the inventor. The professor objects and sprinkles the Hebrew, who flies away like 103 ARC YOU USING SONG SLIDES ? We are SONG SLIDE SPECIALISTS and can give you "The Service that Satisfies" For less money than you pay now Drop Us a Letter SLIDE'EXCHANGE 871 Third Ave., Hew York City Lessons" How to Become a Success- ful Moving Picture Operator" By MAXWELL H. HITE PRICB. $1.00 May be obtained from MOVING PICTU F E WORLD P. O. Bos 4so, New York Klnetoscopes, Films, Lanterns. Accessories. Edison Supplies. ©HAS. Ml, STE@BIIM8 I023 ftlain St., - Kansas City First Asai&^aa! Ball MILES BROS. EMPLOYEES to be held at PI^ZA 1ALL 59th. Street, between Lesdagton and Park Ave*. TUESDAY EVENING, MiiBCH 10,1908 TicHats, SO Cento admitting gentleman and Lady COMMENCING AT SiSO P. X. SITUATION WANTED. A first-class operator on Edison, Power's, Lubin and Selig Polyscope. Ohio or Illinois. Salary $20.00 to $25 00 per w ek. Address, M. E. CAMPBELL, 550 Wood Ave., Col- umbus, Ohio. Situation Wanted —Young man, «, who worked with manufacturer; is also first-class Operator and Photographer. JOHN SCHNEIDER. «i6 Baat 10th Street, New York. Experienced Operatorandrepairman would like position with good responsblo theatre. Sober and reliable. Can furnish best possible Ai references. Address, M. B. ROGEKS, Clyde, Ohio. ©perater—Thoroughly experienced, desire* posi- *Iion; Delaware or Maryland preferred. Any machine. Best references. J W. CONNORS, aj5 Baldwin Street, New Brunswick, N. J.