The Film Daily (1919)

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Thursday, June 26, 1919 DAILY Stirring 'Km Up (Continued from Page 1) pen boking. Now they have it. Now what do they want?" [ B. S. Moss of .the Moss chain of Beaters, and of Famous Players|.ask\. identified with the theater nd of the business, said that exhibits would undoubtedly be aide to vork out their own problems. Marcus I. new was in St. Louis and :ould not be reached for a statement. Joe Plunkett of the Strand wanted [o know what was the idea. "Don't Cramlall want to see his p'ctures before he boks them?" he asked. "We lo. The further ahead we can see Tiem the better we will all be off. I ies us more time to arrange our ■ploitation, our tableaux, music and Krything. I can paraphrase Davy frockett: 'Be sure you know what ou've got and then go ahead.' It's ctter to see program pictures as far head as possible. It gives you a hance to do something with them, :istt ad ot having only a few days eeway." Williams' Ideas J. D. Williams of First National Exhibitors Circuit, said: "Mr. Crandall's statement in Wedlcsday's issue of Wid's Daily on the Itter fallacy of booking attractions hree months in advance is a fact rom an exhibitor standpoint that ihould have the earnest study and prious consideration of every disributor who is planning his policy of listribution for next season. 'The absurdity of expecting an bchibitor to book attractions three ponths in advance is apparent when Ine considers the competitive angle vith which every exhibitor constant"ias to contend. Possibly in his kwn judgment he may feel that he las the best line or attractions the >pcn market affords. "But what about competition? "The devotee of far-in-advance [poking has deposited his money. le has his pictures and their respec|ve dates slated for three months advance. But when playing date rives, in the( event a rival exhibir has arranged for a production of ceptional merit the fellow who elve weeks before "booked himself lid" is absolutely powerless to oblin a production capable of making ', showing against his competitor's pcceptional attraction — without paycancellation fee or practicing be costly art of "slielving." The advance contract arrangement makes no allowance for competion. It has only one chance of ■eing both practical and profitable. Bid this is in the event that there is lit one motion picture theatre in (Continued on page 10) FOREIGN MARKET! Adolphe Osso = Room 809 1457 Broadway =p Phone Bryant 6325 === will bay ^= Your Foreign Rights == "Secret Service" as a Picture Does Credit to Famous Play Robert Warwick in "Secret Service" Paramount-Artcraft Special DIRECTOR Hugh Ford AUTHOR William Gillette SCENARIO BY Beulah Marie Dix CAMERAMAN William Marshall AS A WHOLE Exceptionally well handled Civil War drama; in production, story and acting it has everything that a picture of this kind needs. STORY Adaptation of William Gillette's famous stage success. DIRECTION Works up to suspense-creating situations in fine style and always keeps the scenes in the atmosphere of Civil War days. PHOTOGRAPHY Excellent LIGHTINGS Many of them distinctly artistic CAMERA WORK Close-ups used with discrimi nation; dissolves and double exposures skilfully handled. STAR A regular soldier hero; looks and acts the part and scores points without over-acting. SUPPORT Wanda Hawley makes a decidedly attractive southern girl; Theodore Roberts, Raymond Hatton and Irving Cummings have conspicuous places in finely balanced cast. EXTERIORS Evidently were selected with great care; frequently furnished beautiful backgrounds. INTERIORS Have variety and appear genuine DETAIL Small mistakes in costumes and set tings, such as often mar "period" plays are avoided here. CHARACTER OF STORY Heart interest and dramatic intensity well combined. LENGTH OF PRODUCTION 5,697 feet AT the time that William Gillette wrote "Secret Service" there was no such thing as photoplay technique, but it so happens that his Civil War drama, now more than twenty years old, makes a nearly ideal basis for a motion picture, at once physically and emotionally stirring and permeated with the charm of the Southland during the days of inevitable defeat. There was a time, some five years ago, when about every company with a supply of uniforms and guns, turned out Civil War dramas at frequent intervals. They were overdone and not very well done. Today, a story of the type returns as something of a novelty, and "Secret Service" is so decidedly well handled in all respects thai it should enjoy a success commensurate witli thai registered by its stage parent. Considering the essential points in a photoplay story, production and acting this scores through a happy blending of the three. In the lirst place thenare oppoi'l unities for genuine emotional and dramatic Conflict in the meeting of Robert Warwick as the northern spy and Wanda Hawley as the loyal south erner, in the struggle of the Union officer torn between love and duty; in his efforts to carry out the mission on which lie has been sent, and in the courage with Which lie faces a Bring squad when the game is up. With each situation well established, the picture realizes a high degree of excitement and suspense at three points. The lirst of these is reached when Irving Cummings, as the Confederate secret service man, lays a trap for Robert, who is forced to shoot his own brother, or betray himself. The bullet intended to inflict a slight wound in the brother's leg, enters his heart, and the spy, still forced to assume the part, continues the pretense that he is a southern soldier performing his duty. Again, the story carries a thrill when Robert, on the verge of telegraphing a message that is expected to mean the downfall of Richmond, is caught by Cummings and shot through the hand as he is clicking off the code. Even here lie does not lose his nerve. He almost succeeds in turning the tables on the secret service man before his guilt is established. But best of all is a climax maintaining suspense at a gripping tension. Robert stands in front of the firing among the soldiers about to shoot the northern spy. Union tropps breaks over Richmond, one of them bursting among the silders about to shoot the northern spy. In the presentation of this war drama, Director Ford has excelled himself. The quaint charm of the old Virginia city is delightfully pictured, contrasting with the squalid filth of the famous Libby prison. Lightings are soft and atmospheric and ensemble scenes, such as those at the bazaar for the benefit of the Confederate soldiers, are like an animated painting of an appealing tragic epoch of American history. The director's handling of the capture of Richmond, the shells crashing through houses and the panicstricken population in flight, shows technical skill of a high order. Robert Warwick portrays the role of the spy with dignity, reserve and emotional force. He makes one believe in his heroism and his love for Wanda, radiantly pretty in the costume of a southern girl of the sixties. Theodore Roberts assumes a convincing bearin gas a Confederate general, whereas Irving Cummings, Raymond Hatton and others in a large cast add materially to the production. Go After New Business on this One. It's Easy to Advertise Box Office Analysis for the Exhibitor This will come to you as a Paramount-Artcraft special and it warrants playing as such, meaning an exploitation campaign that will reach out after new business. Make it plain that you have something more than a routine release. Perhaps you are getting tired of being urged to experiment with runs of two or three days, but when you are showing a picture of this class, I can't see why the longer booking policy isn't good business. The title "Secret Service" is enough to attract patronage in itself. Couple the name of the picture with William Gillette as the author, Robert Warwick as the star and Hugh Ford as the director and you have an excellent combination from an advertising angle. It ought to be a comparatively easy matter to get additional newspaper space, in reviving interesting data about the play, the author, or the star. "Secret Service" was first staged in New York in October, 1898, with William Gillette in the principal character. Providing it ever reached your town, either through the medium of a traveling company or stock, refer to the performance and make some fuss about its being the most successful of all Civil War dramas. You should be able to draw patronage from theatergoers who like to see their old favorites in new form. Outside of the conventional newspaper notices, you may be able to land additional sketches of Robert Warwick on the strength of his war service. He was a Plattsburg graduate, commissioned a captain and sent overseas where he served many months. Now he is a major in the Reserve. Show pictures of Warwick as an officer in the Civil War and in the uniform of the present army. How Was the Invisible Face Created?