Canadian Moving Picture Digest (Apr-Sep 1918)

Page Bighteen THE CANADIAN MOVING PICTURE DIGEST. TT A A ST a « Salt 4 > ama SD | > + SE a eR a mnt STORIES OF THE PLAYS AND PLAYERS ! een ene HAROLD LLOYD CHARMS A WHOLE HAREM. Those who believe they have seen cool, bespeckled young comedian Harold Lloyd in unsually funny films lately will do well to cast an eye on Pathe's new one, ‘‘Somewhere in Turkey,’’ in which the funetions Lloyd charms a whole harem. ‘¢Somewhere in Turkey’’’ is said by all who have seen the first private showings, to be the funniest of all the Lloyd series. The Rolin studio has apparently disregarded expenditures, for there are massive palace sets, a drove of camels, and scores of beautiful houris wearing gay and happy smiles (and a few yards of muslin), all of which cost a barrel of money. Snub Pollard and Bebe Daniels are, as usual, prominently cast. ALICE JOYCE AND HARRY MOREY IN A RACE. Alice Joyce and Harry Morey, Vitagraph stars, seem to be vying with each other in the matter of production these days. Miss Joyee, working under the direction of Tom Terriss, recently completed ‘‘Find the Woman,’’ an oO. Henry five-reel feature, and immediately began work on ‘‘To the Highest Bidder,’’ a play from the novel by Florence Morse Kingsley. On the same day Mr. Morey, working under direc tion of Paul Scardon, started on ‘‘ Fid| dler’s Green,’’ adapted: from the Saturday Evening Post story of Donn Byrne. They are both in the midst of their productions now, and each star is working overtime in the hope of finishing before the other. On his side, Harry Morey is backed up by Betty Blythe, his new leading woman, this being her third feature since she was added to the list of featured stars. Meantime, the scenario department of Vitagraph is preparing new plays for the two companies. Miss Joyce probably will start next in ‘‘Brick Dust Row,’’ another O. Henry story, which has ‘many of its scenes at Coney Island, while ‘‘The Greed God,’’ by Frederick Arnold Kummer, is waiting for Mr. Morey and Miss Blythe. ‘‘THE KAISER’’ IN WINNIPEG. The Lyceum Theatre, Winnipeg, after carrying out an extensive advertising campaign on ‘‘The Kaiser, the Beast of Berlin,’ were very pleased with results. Each performance was well filled and line-ups waited to gain admission on several instances. This fact is particulary gratifying to the State Right Features, who are handling this production in Canada, due to the fact that during the entire week ‘‘The Kaiser’’ was competing with ‘‘Four Years in Germany,’’ on which a strong advertising campaign had also been waged. Digitized by Gor gle TS ST! Ts A 1 Ts A TT! A 1 + + S| MARY AT THE HOLMAN. That Mary MacLaren is to continue the popularity she gained for herself in “*Tdle Wives,’’ ‘“Shoes,’?’ ‘*Saving the Family Name,’’ ete., is evidenced by the splendid houses which attended the showing of ‘‘The Model’s Confession,’’ featuring Mary MacLaren at the Holman Theatre, Montreal, Que. ER. PRODUCTION , “The Doctor and The Woman” ; RINEHART “‘CECILIA OF THE PINK ROSES.’’ Simple Homely Touches That Will Appeal in Marion Davies’ Offering. If there are any corners in your heart where sympathy has never reached, this picture will do it, especially when the mother puts her face close to that of her children and kisses them and begs them to be good after she is gone. It is full of such situations all the way through, and will surely appeal to the emotions of any human ‘being. The story tells of a poor Irish bricklayer who became wealthy from a brick invention, but too late for this wife to enjoy any of the luxuries, as she had passed away. Complying with her school to become educated. Cecilia becomes a fine girl. The boy, however, is snobbish, and was ‘ashamed of. his own father because he is_ illiterate. Later he takes to dissipating, and is caught in the meshes of a woman blackmailer and her man accomplice, but saved by the sweetheart of his sister. Eventually he is made to realize the folly of living such life, and reforms. The picture is somewhat slow in places, and it would help if it could be reduced to five reels. Miss Davies photographs well and gives a very good performance. She gets away with sone fine emotional work. The picture is cleay aid ought to please any audienee—-Motion Pieture News. BOY FILMS GRIP OLDER FANS. Judge Brown Stories Hold Audiences of All Ages, Bookings Prove. Judge Brown Stories continue to prove one hundred per cent. entertainment feature, basing the statement uponthe invariable rule that when one of these stories is screened the entire ser ies is booked by the exhibitor. ‘‘Bud’s Recruit,’’ the initial release, shows no signs of losing its early popularity as a patriotic story, while ‘‘1’m a Man,’’ another more recent patriotic subject in the series, has more than duplicated the record, established by ‘‘ Buds’ Reeruit.’’ The other stories are boy adventures, rivalling those of ‘‘Tom Sawyer.’? The Judge Brown Stories have seized audiences composed largely of the older classes of patrons. Numerous Canadian exhibitors have informed General Film that these stories are fascinating. as recalling childhood days. BILLIE RHODES A FLAPPER VAMP IN STRAND COMEDY. Saucy Billie Rhodes gives the simple rustic maid some pointers on flirting in ‘‘Her Rustic Romeo,’’ a Strand Comedy. The little flapper vamp is a past master in the art of ensnaring the gilded youth, so when she takes a hand in a bucolic romance and instructs the unsophisticated country maid in the wiles, what chance has the poor rube philanderer? It’s marry the girl or com? across with the heart-balm coin, and | the rustic swain decides on orangeblossoms. ‘““THE YELLOW TICKET.’’ ‘““The Yellow Ticket,’’ the vehicle in which Fannie Ward is seen to splendid advantage, is one of the best screen plays that Pathe has made in many moons. This play was a phenomenal suecess on the stage several seasons ago, and the photoplay version — easily maintains the reputation of the play. Fannie Ward as Anne, gives a skilful and pleasing interpretation of the leading character. She is still as youthful looking as ever, although Fannie is no longer classed in the squab section by any means. She is ever the young woman, and seems to have discovered the fount of perennial youth. The scenario is compact, clear, and swift-moving. To those exhibitors in Canada who watch the trerd of affairs in the picture world, it might be stated for their benefit that ‘“‘The Yellow Ticket’ found’ its way into the Rialto Theatre in New York due to its high dramatic value and its box office power combined. It may safely be billed as a special attraction by all wise exhibitors. The title of the fifth Petrova picture has been changed to ‘‘The Tiger Woman.’’ Original from NEW YORK PUBLIC LIBRARY