Motion Picture Classic (Jan-Dec 1916)

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By PETER B t wasn't so long ago that Mrs. ” Vernon Castle', whose husband is now hovering in a scout aeroplane “somewhere over the firingline” in France, wired for hotel reservations at a certain swell hostelry in Utica, N. Y. She asked for five rooms with three baths en suite, and got them. But she arrived alone — with an entourage of two spider monkeys, one macaw in his cage, and a Persian kitten worth .about eighty-nine cents a cubic inch. The dancer and her maid were to occupy two rooms — the rest Were for her pets. It took some time for the astonished hotel-clerk to become reconciled to > the invasion of his immaculate gokl-andwhite Watteaurooms by: the Misses Polly, Tabby and Monk, but, , you see, he. had never heard of the art nouveau. Mrs. Castle explained things later. By her intimate study of the movements of animals she had devised some of her most graceful and natural steps. But where did the gorgeous-feathered macaw come in ? He is nothing but a base imitator himself. Seriously speaking, the animal kingdom has come into its own and is slowly migrating from the stage to the screen. A few years ago the simple repertoire of Larry Trimble’s “Shep,” a beautiful collie, set his audiences in a furore of enthusiasm ; but with the rapid advancement of pictures the animals have had to keep apace. We now demand them with either a college education or served an natural — the more bloodthirsty, the better. Movie animals, then, are of three distinct types : the educated, the wild, and the domesticated, such as the unambitious cow, or Mary Pickford’s silly geese. The common or garden variety can • be picked up anywhere, and any one, from an “extra” to a scene-setter, can work in pictures with them. They lend atmosphere, or are classed as “props,” like a cup of movie tea. But the trick or wild-animal specialist is a much Turning Timid Hea Noah and Nero Didn’t Know Half So as the Modern ( Thirty )