Exhibitors Herald (Sep-Dec 1918)

EXHIBITORS HERALD AND MOTOGRAPHY Trade Sho ws CHICAGO FOX, 5 S. Wabash Avenue, current Excel and Victory Pictures, Wednesday, October 9, 10:30 a. m. GENERAL, 207 S. Wabash Avenue, Current features, titles not available, Wednesday, Oct. 9, 2 p. m. GOLDWYN, 207 S. Wabash Avenue, "A Perfect 36," five reels, with Mabel Normand, Thursday, Oct. 10, at 10 a. m. TRIANGLE, 207 S. Wabash Avenue, "Love's Pay Day," five reels, with Rosemary Theby, Thursday, Oct. 10, at 2 p. m. UNIVERSAL, 220 S. State Street, "The Lure of Luxury," five reels, with Ruth Clifford, Tuesday, Oct. 8, at 1:30 p. m. VITAGRAPH, 207 S. Wabash Avenue, "The Mating," five reels, with Gladys Leslie, Tuesday, Oct. 8, at 2 p. m. WORLD, 207 S. Wabash Avenue, "Just Sylvia," five reels, with Barbara Castleton, Saturday, Oct. 5, 1 p. m. CLEVELAND TRIANGLE, 704 Sincere Building, "Love's Pay Day," five reels, with Rosemary Theby, Monday, Oct. 7, 2 p. m. WORLD, Belmont Building, "The Appearance of Evil," five reels, with June Elvidge, Saturday, Oct. 5, 2 p. m. KANSAS CITY MUTUAL, 928 Main Street, "The Temple of Dusk," five reels, with Sessue Hayakawa, Tuesday, Oct. 22, 2:30 p. m. MINNEAPOLIS VITAGRAPH, 810 Produce Exchange, "The Mating," five reels, with Gladys Leslie, Tuesday, Oct. 8, 2 p. m. WORLD, Sixth Street and First Avenue, "Just Sylvia," five reels, with Barbara Castleton, Wednesday, Oct. 9, 2:30 p. m. Exchange managers are requested to send in weekly information regarding forthcoming trade shows. Matter must reach Exhibitors Herald and Motography, 417 S. Dearborn Street, Chicago, not later than Monday, 6 p. m., containing data on shows to be given in the week following. New "Tarzan" Shows Decline of Man OFFICIAL CUT-OUTS MADE BY THE CHICAGO BOARD OF CENSORS "The Brass Bullet," No. 7 (Universal) — Reel 1, all scenes of man r>truggling with girl on bed; all scenes of man in girl's stateroom; aviator dropping bomb on vessel. Reel 2, slugging man with gun. ''Brazen Beauty" (Universal) — Reel 4, two scenes and flash three scenes of girl in boat where gown is indecently low. "A Japanese Nightingale" (Pathe) — Reel 4, Japanese stabbing American consul. "Nearly a Chaperon" (Star)— Subtitles: "The girls put me out — may I sleep in here?" No, you wouldn't rest. She talks in her sleep"; "How do you know?" "Hands Up," No. 6 (Pathe) — Reel 1, binding Indian woman to telegraph pole; girl sitting on bar. "The Man From Funeral Range" (Paramount) — Reel 2, girl shooting man. Reel 4, two scenes of attack on guard. "The Master Crook" (I. R. Films) — Reel 2, strangling old man. "Love's Law" (Mutual) — Reel 4, subtitles: "Married? Don't you know that marriage is the death of romance"; "So, that is what you mean — it is true, then, what thev say of you. No, I hate you"; "You have no heart, no soul, no honor-'; "He humiliated me— he insulted me"; "You have insulted Sonia"; "Yes, and you shall answer to me"; "I want you, Sonia; you must come to me on any terms." "Wild Life" (Triangle) — Reel 2, close-up of biting man's hand in fight. Reel 3, gambler falling in doorway after being shot; two close-ups of man on horseback shooting at stage; driver failing from coach. Reel 4, subtitles: "There's nothing you couldn't have if you was good to me"; "Let's lynch him"; first vision scene of shooting stage driver. "Daughter Angele" (Triangle) — Reel 5, masked man striking old man at tree; two close-ups of man with rope around neck; subtitle: "Jimmy's a good old scout — let's go on with the hanging." "The Extra Bridegroom" (Star) — Scene of couple in bed together. "Broncho Billy and the Sheriff" (Essanay) — Two scenes of binding man. "Modern Love" (Universal) — Reel 3, subtitle: "And we registered as man and wife." Reel 4, subtitles: "You don't deny it — then it is true"; "Tell me when — after we were married?" "I might have known what you were when Addison sent you to me." Reel 5, second close-up of hotel register where man writes name "and wife." Reel 6, subtitle: "That wife of yours is some pippin"; show no struggle in girl's room. Scenes between them to end with first scene of man bidding girl "good night." Show no scenes below stairs to indicate struggle upstairs. Show no scenes of innkeeper and helper breaking into girl's room and putting man out of room. "The Brass Bullet," No. 5 (Universal)— Reel 2, last scene of man trying to force cabin door after removing coat. "Snails" (Clifford) — Reel 1, subtitle: "Aw, gwan! If you expect me to pick out the females, put petticoats on them." Two scenes of Shorty on couch smoking opium. Reel 2, subtitle: "You can't take a Chinese_ wife back to America; I'd as soon have you mate with one of my snails"; all scenes of Chinese girls in boat, in wagon and taking them into hut; all scenes of girls in hut except one scene of one girl at window. Reel 3, all scenes of Chinese girls in wagon, up to time Shorty rescues them. "Viva La France" (Paramount) — Reel 2, change subtitles: "No, no, we do not kill beautiful young women like you" to omit underscoring of word "kill," and "They are all French and each has been decorated with the Cross of Shame" to "They are all French and each has been decorated with the Cross of Captivity"; "Remove her to my quarters," etc.; "So far you have been branded as my property." Reel 3, in place of subtitle: "It means nothing but the disappointed fury of a beast," etc., insert "It is nothing but the brand of a cowardly Hun"; "It means I have paid." THIS WEEK AT DOWNTOWN CHICAGO THEATRES A positive example of the physical decline of man in comparison to previous generations is given in the character of Tarzan, whose jungle training brings terror to the disciples of civilization when he is transplanted into the midst of aristocracy as the foundation of the story of "The Romance of Tarzan," soon to be issued by the First National Exhibitors Circuit as the concluding chapters to "Tarzan of the Apes." Elmo Lincoln, who portrays the character of Tarzan, was chosen for the part because of his tremendous physique and prodigous strength, in addition to his ability as an actor, and because he most perfectly represented, in the estimation of officials of the National Film Corporation, the producers, the physical type of man that would result from years of life in the open. In the swift action that places Tarzan in contact with members of the social world of America the other characters appear almost puny in comparison. They find themselves, as the result of their sheltered, exertion-lacking life, no match for the great strength of the jungle man, who attacks them with savage ape fury when he discovers the duplicities they have practiced on him. ALCAZAR — Paralta, "Prisoners of the Pines," with J. Warren Kerrigan (3 days) ; First National, "The Romance of Tarzan," with Elmo Lincoln (4 days). BANDBOX — Fox, "The Woman Who Sins," with Theda Bara. BIJOU DREAM — Goldwyn, "Hidden Fires," with Mae Marsh. BOSTON — First National, "The Romance of Tarzan," with Elmo Lincoln (2 days) ; Paramount, "Heart of the Wilds," with Elsie Ferguson (2 days); Metro, "Unexpected Places," with Bert Lytell; Fox, "Fame and Fortune," with Tom Mix. CASINO — Bluebird, "The Velvet Hand," with Fritzi Brunette. CASTLE — Artcraft, "He Comes Up Smiling," with Douglas Fairbanks. ORPHEUM— Goldwyn, "Laughing Bill Hyde," with Will Rogers; First National, "The Romance of Tarzan," with Elmo Lincoln; Paramount, "The Woman of Impulse," with Lina Cavalieri. PASTIME — Artcraft, "Johanna Enlists," with Mary Pickford; Paramount, "Come On In," with Shirley Mason. ROSE — Fox, "When a Woman Sins," with Theda Bara. ZIEGFELD— Artcraft, "The Goat," with Fred Stone. 48