Motion Picture Story Magazine (Feb 1914 - Sep 1916 (assorted issues))

152 MOTION PICTURE MAGAZINE Vybgynya —Your letter was so good tbat I gave it to the editor. He may print it some time The eye for science, the mouth for religion, and the hand for art, is pretty a philosophy. ' l agree with you that the hand is very expressive— when it is attached to a good player. The most unworthy hand I know is behindhand. Lucille Brooklyn. — George Larkin plays opposite Ruth Roland. So does William Brennan. Betty Gray is with Biograph. Mary Pickford is not in vaudeville. Mrs. Bother. — Warren Kerrigan was with American before going to Victor. Florence Turner is still abroad. Oweu Moore and James Cooley both with Mutual. Lillian Walker Worshiper.— Mabel -Van Buren was Helen in "The Touch of a Child" (Selig). Clara Kimball Young in "The Pirates" (Vitagraph). Dolly Larkin in '-Breed of the West." Eugenie Besserer and Henry Otto in "The Mysterious Way." Marjorie M.— Muriel Ostriche in "Her Right of Happiness" (Princess). William Knssell in "Curfew Shall Not Ring Tonight" (Thanhouser). I am not old. Years count lor nothing. A person is as old as he feels. Ai ice F. — Myrtle Stedman was Sallie in "Sallie's Sure Shot" (Selig). Betty Gray was the sister in "The Merrill Murder Case" (Patheplay). Ormi Hawley was Nora in ' Fashion's Toy" (Lubin). Lottie D. T. — Charlotte Burton and James Harrison in "The Flirt and the Bandit (American). William Brunton and Helen Holmes in "The Hermit's Ruse" (Kalem). Hov.ard Davis in "Playmates" (Majestic). Louise Glaum is Carlyle Blackwell's leading lady. Jane Gail is with London Film Co. Anne M. B. — I am sorry you were disappointed. I dont remember your letter at all. How do you expect me to, when I read thousands of them? What we do not understand we have not the right to judge. Please write again. William G. — Mona Darkfeather was Ruth in "Against Desperate Odds' (Kalem). Alan Hale was the younger brother in "By Man's Law" (Biograph). Ruth Roland in "Fickle Freaks." Sallie Crate and Bliss Milford in "The Price of Human Lives." Mildred M., Los Angeles. — Edwin August in "The Blot in the 'Scutcheon" (Biograph). Wilfred Lucas in "Fate's Interception." Also in "A Pueblo Legend." But you must not give away your secrets. A good secret is to a woman what wine is to a mail — too good to keep. A secret can be kept by two — if one of them is dead. Joy, 450. — Val Cleary was Bob, Miriam Cooper was Sal, and Bob Walker and Irene Boyle in "The Sacrifice at the Spillway" (Kalem). Miss Golden in that Biograph. William Bailey in "The Hermit of Lonely Gulch." Beverly Bayne in "The DeathWeight." (Continued from page 107) edged ideal locale. These are advantages that have already been meted out to a public overflowing with the benefactions of the film magnate. Therefore, instead of sumptuous scenery and accessories such as a Broadway playhouse always is expected to feature, the productions on the screen at the Vitagraph Theater will reveal the original scenery of the locale, where each play is centered: hence when Hall Caine's "The Christian " is seen as a photoplay, the limitations of the speaking stage will never be so apparent. Liebler and Company, who produced "The Christian" with Viola Allen originally, and who are also assisting in the production of this photoplay, have been so impressed with the films that they believe, quite justifiably, that the tremendous vogue of the play is about to be repeated. While the Vitagraph 's prodigality as producers is to be viewed only on the screen, let no man assume that the first-nighters have no surprises awaiting them at this, the premiere of playhouses. On the contrary, the environment that will confront the inaugural audience will be such as befits "The Theater of Science," and such information as is available forces the conclusion that 1914 is destined to record no event of greater significance in filmdom. Always striving to give to their photoplays an adequate musical setting, it was natural that the Theater of Science would adopt a scientific method to provide a musical accompaniment for them. So, instead of a body of orchestral players, a $30,000 symphonic orchestra, the invention of Robert HopeJones, with a single musician at the keyboard, will interpret the original scores, always appropriate to the film subject, thus forming as a whole a veritable conquest of the arts of Music and the Drama along modern scientific lines.