Motion Picture Magazine (Feb-Jul 1921)

(pl°2 ON piCTURF MAGAZINE L Only 60 Days More Summer is calling. Just two months to go and then the good old swimming days. Jump in your suit and out on the beach. Oh boys! Those are sure the best days in the year. LAST CALL Will you be proud of yours e 1 f when others see you in your bathing suit? Will you be admired for your splendid physique or will people smile and say: "Look at the freak" ? This is my last call to get you in shape for Summer. If 3rou will closely follow my instructions, I will make you the center of attraction. By Summer time you will have the deep, full chest of an athlete. I will broaden your shoulders and give you the latest photograph of KARLE E. LIEDERMAN Taken Oct. 10, 1920. arms and legs of a Hercules. You can justly be proud; for the life-saver himself will have nothing on you. NOW IS THE TIME Tou cannot have a fully developed body over night. I won't, promise you that, for what I promise I fulfill. I do promise, however, to completely change you by Summer, if you will start at once. The experts of today claim that my system is the surest and the quickest means of attaining physical perfection. Get busy then and see for yourself. Make me prove my claims. Send for my New Book "Muscular Development" It is FREE! It tells the secret, and is handsomely illnstralcd with U5 full-page photographs of myself and some el the world's best athletes whom I have trained, also full particulars of my splendid offer to you. The valuable book and splendid offer will be sent you on receipt of only 10 cents, to cover wrapping and mailing. Sit right down now and fill in the coupon. The sooner you gel started on ihe i I to health and strength, the easier it will be to reach perfect manhood. Don't drag along one day longer — mail the coupon today. EARLE E. LIEDERMAN Dept. 306, 305 Broadway, New York EARLE E. LIEDERMAN, Dept. 30G, 305 Broadway, N. Y. City Dear Sir: I enclose herewith 10 cents, for which you arc In send inc. without any obligation on my part whatever, a copy of your latesl I It, "Muscular Development." [Please write or print plainly.) Q City State. 6 Afid Stage Plays Tkat Are Wortk While Readers in distant towns will do well to preserve this list for future reference. Ambassador. — "The Rose Girl." Another musical entertainment. Charles Purcell is featured. Rose Rolande stands out of the dancing, altho Lydia Lopokova is headlined. Astor. — "Cornered," with Madge Kennedy. A crook melodrama by Donald Mitchell, in which Miss Kennedy, fresh from several years on the screen, plays a dual role : a slangy girl of the underworld, and a young woman of society. Farfetched, but possessing interest. Miss Kennedy is charming. Belasco. — "Deburau," with Lionel Atwill. One of the notable events of the stage year is this Granville Barker's translation of Sacha Guitry's drama, built around the famous French master of pantomime of the thirties. Written with poetry, insight and distinction. Famous characters of the period, including Marie Duplesis, the "Lady of the Camelias," Armand Duval, Victor Hugo and George Sand, appear in the drama. Superbly staged by Mr. Belasco, with all his old, uncanny stagecraft, and splendidly acted by Mr. Atwill, Elsie Mackay, Hubert Druce, Morgan Farley, John L. Shine, Rose Coghlan and an altogether perfect cast. Belmont.— "Miss Lulu Bett," built by Zona Gale around her own novel. A remarkable play constructed about a soul rebellion in a small town. Rife with idealism. Very well played and well worth seeing. Bijou. — "The Skin Game." A new and decidedly interesting drama by John Galsworthy. One of the real things of the dramatic season. A study in class strife which many critics look upon as a miniature study of the late war. Will absorb you. Very well played. Booth. — "The Green Goddess," with George Arliss. William Archer's adroit melodrama, revolving around a merciless rajah of a mythical land in the mountains north of India and an accident which drops two Englishmen and an English woman from an aeroplane into his power. Finely staged and played. Central. — "Afgar." Oriental extravaganza featuring Delysia, fresh from London and Paris. Hide your blushes before 3'ou go to this. Delysia has a certain naughty piquancy. The chorus is costumed in special Paul Poiret creations. Century. — "In the Night Watch." An adapted French war melodrama of the Drury Lane type. Features the sinking of a battleship in battle. An all-star cast, but Max Figman. shines out alone. Century Promenade.— New York's newest dinner and midnight entertainment, "The Century Review" and "The Midnight Rounders." Colorful girl shows for the tired, business man. A delightful place to eat. Cohan. — "The Tavern," with Arnold Daly. Delicious and at times screamingly funny satire upon all the melodramas ever written. A jazz mystery play, brimful of laughs. Mr. Daly is delightful as the mysterious vagabond. Cohan & Harris. — "Welcome Stranger," Aaron Hoffman's story of a Shylock in a New England town. Presents the battle of Jew and Gentile in a way that the Hebrew gets much the best of it, teaching a whole town kindliness and religious toleration. George Sidney is excellent as the twentieth century Shylock. Eltinge. — "Ladies' Night." About the most daring comedy yet attempted on Broadway. This passes from the boudoir zone to the Turkish bath on ladies' night. Not only skates on thin ice, but smashes thru. John Cumberland is admirable. Forty eighth Street. ■ — ■ "The Broken Wing." A lively and well-worked-out melodrama of adventure below the Rio Grande. The opus of an aviator who falls in Mexico, thereby losing his memory and his heart, the latter to a dusky seiiorita. Full of excitement and possessing a welldone characterization by Alphonse Ethier. Forty-fourth Street.— D. W. Griffith's master-production of the rural melodrama, " 'Way Down East." Splendid in many ways, with many moving moments and the biggest and most thrilling climax since the ride of the clansmen in "The Birth of a Nation." Fulton. — "Enter, Madame." The best thing, dramatically speaking, in New York at the present moment ; a vivid study in artistic temperament ; the story of a butterfly opera singer. Gilda Varesi strikes fire in this role and gives a superb performance. Norman Trevor plays her husband admirably. Henry Miller's. — "Wake Up, Jonathan," with Mrs. Fiske. An attractive and distinctly out of the ordinary play by Hatcher Hughes and Elmer L. Rice. Splendidly played by Mrs. Fiske. Hippodrome. — "Good Times." Another big and picturesque Hippodrome spectacle. Nothing like it anywhere else on earth. Plenty of entertainment. Klazv.— "Nice People." Starts out to be a satire on the loose-living younger smart set and proves to be an entertaining, if conventional, drama. Francine Larrimore shines as the heroine who sees the evil of her ways. Liberty.— "Lady Billy," with Mitzi. A musical comedy of charm and humor. The cute and vivacious little Mitzi at her best. Pleasant music. Longacre. — "The Champion," with Grant Mitchell. A lively far^e comedy of an aristocratic British family's returned prodigal, who turned out to be a pugilist. Fairly amusing. Ann Andrews lends a distinct beauty to the proceedings. Lyric. — "Her Family Tree," with Nora Bayes. Brisk and tuneful musical show, with the very forceful Nora. Attractive cast, chorus and costuming. Kczv Amsterdam Roof. — Ziegfeld 9 o'clock and midnight revues. Colorful entertainments, unlike anything to be found anywhere else. Nora Bayes. — "Three Live Ghosts." Delightful comedy of three soldiers reported killed in Flanders who return home and find surprising problems awaiting them. Adapted by Frederick S. Isham from his own novel. Splendidly played by Beryl Mercer, Charles McNaughton, Stewart Wilson, Cyril Chadwick and Charles Dalton. Palace. — Keith Vaudeville. The home of America's best variety bills and the foremost music hall in the world. Always an attractive vaudeville bill. Playhouse. — "Romance." Doris Keane, in her adorable characterization of the temperamental diva in Edward Sheldon's linely written drama, "Romance." Admirably revived. Princess. — The Provincetown Players in Eugene O'Neill's "The Emperor Jones." Everyone should see O'Neill's remarkable study in primitive fear. Very well acted. (Continued on page 8)