Views and Film Index (1910)

12 THE FILM INDEX. Trade Mark Essanay Films 1 I I r I I I I I I I I I I I I < ■ I ■ f cc Release of Wednesday, March 2 THE EGG TRUST” A satire on the increased cost of living. Very funny. Length approximately 402 feet. cc Release of Saturday, March 5 THE OSTRICH AND THE LADY 99 GC An educational picture show¬ ing scenes on a Los Angeles ostrich farm. Length approx¬ imately 175 feet. THE RANCH GIRL'S LEGACY Order Essanay Posters Write for the “Essanay Guide’ Release of Wednesday, March 2 RAGS, OLD IRON!” Another Essanay Comedy Hit! Will start a riot of laughter. Length approximately 598 feet. Release of Saturday, March 5 “THE RANCH GIRLS LEGACr’ A Western Comedy, better than “The Best Man Wins.” A headliner for this week. Length approximately 825 feet. I l 1^' m Essanay Film AVfg.,Go. FACTORY and STUDIOS 1333 ARGYLE ST OFFICE 435 NORTH CLARK ST. CHICAGO and LONDON, 5.NEW COMPTON ST. W. C. '9 crack of their Colts, while the dust flies about his feet. After this little excitement Carrie slaps him on the back and takes him off to a deserted spot, where they can spoon without being seen. She tries all sorts of nonsense to make Jack disgusted, while he acts his silliest and seems very much upset by the girl’s strenuous love making. In the end Jack is forced to sign a note in which he states that he refuses to marry Carrie Perkins, and thus forfeits his claim on the fortune. The girl goes away satisfied. A few days later something happens to bring the two together. Carrie has abandoned her outlandish costume and Jack had removed his toupee and eye¬ glass. Carrie has a cowboy admirer. Jack Gleason, who, since he has learned of Carrie’s inheritance, has made love to the girl. She does not care for him and when he meets her accidentally in a secluded spot on the ranch, she tells him flatly that she will not marry him. Gleason insults the girl and endeavors to take her in his arms. Jack Tyler wanders on the scene, sees the girl struggling in the arms of the cowboy, and runs to her rescue. Gleason is knocked down and sneaks away. The two heirs recognize each other. A little love scene follows and Carrie tears up the note of forfeit given her by Jack and stretches out her hand Jack takes her in his arms and presses a kiss to her lips as the picture closes. GAUMONT. (George Kleine.) “THE VALE OF AUDE.” — A film which has been pronounced perfectly marvelous in the stereoscopic effect produced upon the screen. Aude is a maritime province in the south of France; area 2,4.37 square miles, mainly covered by hills belonging to the Pyrenees or the Cevennes, and traversed west to east by a valley drained by the Aude River. The loftier districts are bleak and unproductive, the others tolerably fertile, yielding good crops of grain. The wines, especially white, bear a good name; olives and other fruits are also cultivated. The manufacturers are varied; the trade is facili¬ tated by the Canal du Midi. Carcassone is the capital, other towns are Narbonne and Castelnandary. Population 317,372. The River Aude rises in the eastern Pyrenees, and flowing nearly parallel to the Canal du Midi falls into the Mediterranean, after a course of 130 miles. Matchless technique has made of this film a wonder in beauty never to be forgotten. A great percent, of the nickelodeon patrons are interested even more in travel and scenic films than in dramas. It is to the advantage of every exhibitor to show all that are made. “THE PLUCKY SUITOR.” — Harry Swinburne, a poor young poet, receives a letter from his sweetheart, Marjorie Sheckels, requesting him to call immediately at her home. When he gets there she tells him that her father is trying to compel her to marry a young man for whom she has a great dislike, but who hap¬ pens to have plenty of money. Marjorie insists that Harry should request her hand in marriage from her father in order to bring matters to a crisis. Harry is only too anxious to marry his sweetheart, but he realizes that twenty cents (all the money he possesses) will not go far towards estab¬ lishing a home and supporting a wife. Accordingly he goes to the Government lottery office and pur¬ chases a ticket for a lottery “drawing” which is to take place the same day. 'Then inspired with hope and being gifted with an over-abundance of “nerve,” he presents himself at the Sheckels’ home. There he finds his rival being welcomed effusively by Mar¬ jorie’s parents. Regardless of the inopportunity of the present time, Harry boldly asks Mr. Sheckels for his daughter’s hand. Upon being questioned regarding his financial status and ability to support a wife, he proudly ex¬ hibits his “chance’ on the lottery, and enthusiastically recites his “Ode to Spring.” This does not impress Mr. Sheckels as the young poet had hoped it would, with the result that he is quickly shown the door. By no means discouraged, the nervy Harry re-enters by the window, only to be again ejected. As soon as he finds himself in the street, he meets a newsboy selling papers containing the numbers of the lottery winners. Harry’s number is the winner of the highest prize! Joyfully he returns to Marjorie’s home, triumphant¬ ly flashing a fat roll of bank notes, and this time her fond parents look upon him with favor, and award the greatest prize of all to the “Plucky Suitor.” “THE POET OF THE REVOLUTION.”— This mag¬ nificent film depicts events which transpired in France in 1792-1793, at the time of the “Reign of Terror,” when everybody who was known to entertain political views of a royalist tendency was imprisoned and almost always guillotined. During these stirring times a famous poet named Andre Chenier, whose sympathies were pronouncedly with the ill-fated king, composed poems and wrote literature of a strong royalist tendency. This attracted the attention of the republican au¬ thorities, and Andre Chenier was henceforward a “marked man.” The first scene of this historic sub¬ ject is laid at the chateau of the Marquis de Pastoret. Andrew Chenier and his brother are seen conversing with the ladies. Mademoiselle Pastoret begs the poet to recite some of his verses, which evoke great approbation. A few days later, on June 20, 1793, to he exact, Chenier is congratulated at the office of the “Paris Herald” (a royalist journal) for his last poem. Sud¬ denly there is a great disturbance in the street as the Parisian mob of republican enthusiasts and riot¬ ers return from the royal palace, where they put the cap of “Liberty” on the unfortunate King’s head. Chenier is greatly distressed. Going to his broth¬ er’s house he finds him with revolutionists, and open¬ ly approving of revolutionary ideas and sentiments. This, of course, causes him much sorrow. At the Tribune, Doctor Guillotine exhibits a model of a machine he has invented (called after him, the “guillotine”); the object of which is to diminish the sufferings of people condemned to death. Andre Chenier has a terrible vision, in which he sees a great crowd of royalists ascending the steps of the scaffold, leading to the guillotine. Leaving the Tribune, Andre Chenier goes to the office of the “Paris Herald,” where he finds a delegate of the revolutionary committee who has come to close the office. Andre Chenier protests, but his brother urges him to remain silent. After this the poet lives in retirement in Ver¬ sailles, spending his time in composing verses. He is informed by his servant that there is a placard posted in the street by the revolutionary committee, draw¬ ing up an indictment against the Marquis de Pastoret. Chenier at once proceeds to Paris, where he learns with pleasure that the Marquis has escaped. Andre Chenier is accused of having been instru¬ mental in assisting de Pastoret to get away, and is, therefore, arrested and thrown into the Lazare, which is temporarily transformed into a prison, as the jail is crowded with people arrested for the political views they entertained. At the Lazare Andre Chenier meets his old friends, Suve, de Pange and Roucher, who are also his fellow prisoners, Roucher reads Chenier’s verses and has a vision of his poems. Suddenly the prison door swings open and the names of the condemned prisoners are read, as they are called to go to the place of execution on the Place de la Bastile. Andre Chenier’s name is called with, that of Roucher. After bidding an af¬ fecting farewell to the remaining prisoners, they enter the rough wagon, which slowly rumbles away, giving a last view of Roucher embracing his friend, Andrew Chenier, the "Poet of the Revolution.”