Variety (September 1918)

48 MOVING PICTURES AMONG THE WOMEN By PATSY SMITH Nothing new on the Riverside bill this week and nothing big enough to draw any great applause even from the holiday audience Monday matinee. Ed- die Borden appeared to be the biggest hit, but he stole a few bows at that. Francis Renault's reappearance in vaudeville here was marked with no particular novelty and despite his elab- orate wardrobe he should cut the line in the program calling attention to its purported or intrinsic value now that he is playing before intelligent audi- ences whose eyes are well open to ex- travagant stage expenditure. A white Spanish shawl dress with one sleeve and part of rose bodice showing and a bizarre rose covered wire hoop ar- rangement over all, was worn at the opening. A grandmother costume, of blue silver brocade, lengthened with a deep flounce of lace—the same falling in a cascade down the back, was en- hanced with tiny garlands and blue malines. With a silver iridescent gown, the train and one side drapery of black velvet, a fan of black ostrich feathers and white aigrettes was car- ried and a bird of paradise flashed bravado from a huge unbecoming head- gear. The bicycle seems to have been exhausted by the trick cyclist, for Min- nie Kauffman (of Chinko and Co.), one of the best women cyclists extant, is doing nothing new in the way of rou- tine of tricks. Mollie Fuller displayed a smart little round hat, the crown studded with bril- liants and her well advertised "Evange- line" nether extremities. Stella Mayhew entertained in a simple blue voile with lace drop skirt, and Florence La Due, champion lady roper, wore a plum satin shirt with velvet skirt. The women in the Bert Baker act were in white crepe embroidered in red and biege jersey cloth stitched in dark blue or black. - Even the girl ushers were boosting the show at the Fifth Avenue Monday night, which listened well at the start and finished' with their recommenda- tions well justified. There were eight vaudeville acts not counting the patri- otic song contestants, and it was all over at 10.30, making a short but sweet entertainment for that house. Two sis- ter acts and two male teams didn't look so well on the bills, but panned out all right. Jimmie Foley (formerly of O'Neil and Foley), who has replaced Jimmy Casson with the Sherlock Sis- ters, overworked the stunts in his danc- ing specialty and was winded for the singing that followed. The girls open- ed in modernized Chinese costumes and closed in geranium brocade velvet and net over wistaria foundations. A cute little soubret dress, evidently new, was of pink brilliant cloth and had an or- chid georgette panel front, pink and orchid bloomers and pink lace trimmed tarn. A little less affectation would help these girls, particularly in their singing numbers. The pretty De Wolf Girls, formerly known as Georgetta and Capitola, pre- sented a delightful novelty act. They opened as Little Red Riding Hood in front of a wood drop and told of the mistake of the story book maiden— that her clothes were all wrong and proceeded to show how pretty things would have transformed her. A gray silk panorama drop bordered with blue birds enclosed a dainty bedroom'set, bright with rose design cretonne, the girls in nighties, just slipping out of their beds. Turquoise negligees with bluebirds printed" on" them and scarf caps, white cloth riding-habit for the morning gallop and a demure tucked gray georgette with bonnet to match followed each other quickly. For "rag time tea" they were in pink chiffon overskirts embroidered in blue over panel fronts of alternatebands of pink silk and lace frills—long loose sleeves of same and big chapeaux of combined materials. Handsome rose brocade and silver cloth wraps with oriental hems and linings of blue were worn for a restaurant verse and pretty waltz, and, as the day over, the girls are seen in lace coatees and sheer pink pajamas. They are capable dancers and have pleasing voices aside from the origi- nality of their offering. . What wonderful hair (quite to her knees) and what a consumate little perch artist is the little Jap girl of Osaki and Takil After discarding her heavy velvet mandarin coat, she works in spotless white silk blouse and tights with the freedom and sureness of a male artist. The woman of Mason and Gwynne wears a buff cloth Russian suit trimmed with brown fur and a brown skin makeup. She sings, whistles and imi- tates something, it isn't clear just what, and removes her gloves in the middle of act for fear her makeup may be mis- urderstood. Last, but not least of the women, is Doris Dare. First in saxe blqe and gold scroll brocade, the loose traight bodice sparkling with a design in bril- liants and a little flat plac, perched atop her well coiffeured head, tied with sil- ver ribbons, then in silver cloth re- splendent with bands of iridescents, she is smartly attractive. Her punch song and dress, however, is worn last. In rose velvet, its long train and vest front, solid with ruby sequins, and hair powdered at sides, she sings of the woman who wants to keep young. The most conspicuous feature of the latest Artcraft production, "Johanna Enfists" is the work of the title sheet writer. The author of them (be they original or culled from the book) hands out many laughs the action does not really call for. Mary Pickford is quite at her best in the character of the country slavey, whose brain is weary of the monotony of things as her body is of the incessant drudgery. With face artistically freckled, she will appeal to every freckle-faced boy and girl film fan. After praying for a beau and getting a whole regiment who shower attentions upon her, the soul of vanity is awakened. Her tight braids are let down and curled—freckle bleaches ap- plied and milk baths indulged in and, with chameleon-like rapidity she changes from ugly cotton dresses to well fitting frocks. A guimp dress was particularly pretty. The waist was flowered material and the tight skele- ton bodice and plaited apron skirt was of serge or some other light cloth. A wide belt of patent leather encircled her waist. Some of the scenes were taken with the 143rd California Coast Artillery, of which the little film star is official godmother. Miss Pickford appears to be growing more human in her characterizations—not just "too sweet to live"—perhaps it's the freckles that make her appear so. It is not possible to describe in decent language the nauseating at- tempt at comedy indulged in by the principals of Robinson's "Parisian Flirts." The name of the offering is "The Wild Lovers." Billy Clark and Al Raymo were the leading offenders, abetted by May Bernhardt and Hallie Randolph. Jocko, the ape, played by Marion Benson, is a mere plant for the lewd business and talk. Miss Bern- hardt appeared to be amusing herself rather than the audience, and showed the same unconcern in her dressing. Two satin sport suits were plain and ordinary for stage wear. Hallie Ran- dolph carried her costumes well but spoiled their effectiveness with a hat or feather that didn't belong. Jerry Flemming, the plump blonde soubret, rushed through her lines at times. A little more initiative was ex- pected from her. She should cut out "cart wheels" or go in training for them. Freda Lehr deserves credit for the only legitimate entertainment handed out, aside from Chas. Robinson himself. A tall, fine looking young woman, she has a good voice and de- livery and makes the best appearance of all despite the showy clothes and bold display of ego of the other women. As for the chorus, they are young, good looking, and slender. * The only one above the average size h»i dig- nity and can read lines as well as any of the principals. They open as sum- mer girls in turquoise voile and lace frocks and big flower decked picture hats. For "Peaches Down in Georgia" they are in peacock blue satin cape coats relieved with white satin collars and blue and white satin rolled brim tarns. A half dozen in high heels, to make-them taller evidently, wear men's ffannels and blue satin coats. They modestly adhere to skirts and pants throughout—only one girl appearing in fleshings—supposedly returning from an ocean dip. The conventional cos- tumes and fair appearance of the tout ensemble, together with the broadly suggestive dialog and its brazen de- livery (with no attempt to cover by double entente) makes an incongru- ous offering to say the least, and it's safe to say, there will be a general disinfecting of the business and talk before it travels far. Paul Schindler told me one time, while he was directing a certain mu- sical comedy, that he never could ap- preciate the work of a certain dancer' in the show, as he had to look at her big prop smile every performance and it got on his nerves. Just so, Mae Mur- ray's cameraman must be tired of facing pouty lips saying "prunes" and "prisms" and "baby stares." "Modern Love" tells of a chorus girl model who walks the straight and narrow, without a temptation of any sort to stumble over.—which doesn't sound like the brand of modern love the public are familiar with. It is full of absurdities, but the greatest of all is Miss Murray's attempt to play an ingenue with an expression that beautifully expressed deep interest in nothing, save her own personal looks. If Barney Gerard's "Follies of the Day" isn't a success this season, it won't be because they haven't the ma- terial. Chester Nelson even funnier than last year holds up the comedy of the show and the individual hit was made by an unprogramed little woman with a big voice—who stepped in the production in the cabaret scene in the last act. Harry Welsh and the leader, Andy Harer (who sings in the orches- tra pit) as well as much of the busi- ness in the pawnshop scene in the first act, are from the American Bur- lesquers offering of last year. "Pawn- broking de Luxe." Gertrude Hayes doesn't stand out quite so strongly in the show as last season, in fact does not make the attempt but divides honors witb the rest of the women, even with some of the chorus. Mildred Laurie, Ger- trude Saffin and Pauline Harer lead some numbers capably. With a royal blue and green net trimmed with blue sequins and ostrich fringe, at her opening, Miss Hayes wears a lattice, fan-shaped headgear, of jet and tiny light green ostrich tips. A scarlet vel- vet, high waist, topped a white satin draped skirt which had a broad band of white fur at bottom. Her beaded zouave with its crystal fringe and cop- per fishscale oriental trousers, sug- gested a mermaid as much as an orien- tal. Transparent black lace, the high long sleeved bodice unlined and the double skirt showing a drop of white was her most effective display. Maybelle Courtney, a pretty dimpled blond, wore a most becoming good- *' looking black lace poke hat with a black satin afternoon dress. Flat white flowers, were appliqued on its velvet crown. A rose velvet gown -had a huge design on the front in black se- quins and a green satin had its wide panel back, caught up on one side of skirt with an ornament of pearls and opalesques. Del Duvall is the spright- ly half of a Sister team. She was cute and attractive in rose and green sequin ripple frock, and in pink and blue net, but wore an awful looking affair with black silk old lady's jacket in the Avia- tion Field scene. Sister Viola, taller and pretty but not so full of pep, wore her best frock first—a blue satin with scalloped bottom, edged with tiny sil- ver flowers. For their specialty in the last act they were in gold net and lace with baby bonnets of pink and blue, flourishing big chous and streamers of malines. The little "unknown" wore her bobbed hair curled and tur- quoise mousseline de soie sleeves and drapery over a frilly skirt of various shades of chiffon: The chorus includes live, good-look- ing girls. Oriental costumes were a feature as last year. At the opening they were in maize sport silk outfits lengthened with little lace frills, the fronts splitting open showing pink satin bloomers. For the "Bagdad" number blue silk zouaves and hip drap- ery were combined with orange bod- ies arid at the finale of the first act, spectacular frocks of black and white were worn. The little girls had "lamp" shade" skirts edged with sequin trim- ming, pink bodies and bloomers with medaliors of black lace and sequins and pink turban topped with loops of black gold-edged ribbon. The taller girls had skirts of black ribbons (show- ing fleshings through) finished with big flounce of black net,.gold braid and tiny flowers, and wore pink hats with wide black ribbon running from crown to edge of brim. Novelty material was employed for finale—white silk printed with a design that might have been a flying fish in various colors. Full pantaloons were shirred on the sides finishing in a frill and spangled gir- dles and odd-shaped toques completed a rather freakish picture. ANGLING FOR "PEG." • After announcing the purchase of the screen rights to "Peg O' My Heart" from Oliver Morosco, Louis B. Mayer, manager for Anita Stewart, is now understood to be in negotiation with Hartley Manners to the same end According to the story, Manners is now willing to release the play for pictures for $50,000 cash and one-half the profits. C. F. Zittel, acting for the Interna- tional, is also anxious to secure the picture rights to "Peg" for Marion Davies. ALMA RUBENS CRITICAL Los Angeles, Sept. 18. Alma Rubens, the picture star, is critcally ill. Her physicians have aban- doned hope of her recovery. GiikertP. W TBL4NGLI STUDIOS Colter City, CaL JACK CUNNINGHAM Stan* Writer Robert Brunton Studios, Lob Angeles Recent Release* for Barritcale, Keenan, Glaum and Kerrigan