Motion Picture News (Oct 1915)

52 MOTION PICTURE NEWS Vol. 12. No. 17. STAR OF ‘THE SOUL OF BROADWAY” GIVEN PREVIEW OF FILM Los Angeles, Oct. 18. Valeska Suratt, star of the Fox Film ‘‘The Soul of Broadway,” was the guest of honor at a preview of this picture given by District Manager Harry Leonhardt at Miller’s theatre, Tuesday evening, following the regular performances. Miss Suratt is in Los Angeles filling an engagement on Orpheum vaudeville time, which will close with the end of the week, when she will take up an engagement with the Lasky company for the filming of one or more subj ects. The showing was attended by a large number of exhibitors and their friends, together with representative people from many of the Los Angeles studios. Conspicuous at this showing were Jesse L. Lasky and Director George Melford, who will have charge of the filming of the Lasky-Suratt picture. Lasky’s “Carmen” Touchstone of Success to Globe Farrar Picture Draws Overflowing Crowds to Chicago Theatre, Re-named the Strand, and Establishes “New House” in Affections of Public NINE BABIES WILL APPEAR IN VITAGRAPH PHOTOPLAY Sidney Drew has just placed an order for nine babies that he intends using in Lulu Case Russell’s picture play story, “All for the Love of a Girl,” which he is producing for the Vitagraph Company. Chicago, Oct. 19. WITH the Lasky photoplay starring Geraldine Farrar in “Carmen,” the Globe theatre, at Wabash avenue and Seventh street, after passing through many vicissitudes, was opened October 15 as the new home of the Strand. The theatre has been tastefully redecorated, the most noticeable innovation being the Roman garden stage-setting. Although not an invitation affair, the opening night found many society people thronging the lobby, and silk hats almost outnumbered the plebeian derbies. Hundreds were unable to gain admission, and if the first night’s crowds are to be duplicated regularly, a hippodrome will have to be built to accommodate the spectators. The program was opened by an overture by the Strand Symphony orchestra, an organization composed of about thirty Chicago Symphony artists. “The Pagliacci” prologue was then sung in the darkened house by Burton Thatcher. There followed a Pathe colored scenic, a solo by Naomi Nazor, and the “Strand Animated News.” Following these numbers, there was a Advertising Department of Pathe Is Reorganized W. A. S. Douglas Is Made General Publicity Director, George A. Smith Becomes Serial Syndicate Director and A. R. Caughey Is in Charge of Posters General manager l. j. gas NIER, of Pathe, has reorganized his general publicity department to take care of the enormous increase in business since he has assumed active direction of the Pathe American interests. W. A. S. Douglas, who recently returned from the Paris office, has been appointed general publicity director with entire control of all branches of advertising. Mr. Douglas has also charge of the publicity departments of the Paris and London offices so far as Pathe American pictures are concerned. Under the new regime, George A. Smith becomes serial syndicate director. P. A. Parsons will remain, as before, trade advertising and publicity manager. A. R. Caughey remains in charge of posters. B. Millhauser becomes editor of Pathe’s weekly house publication. H. J. Walsh assumes the duties of assistant syndicate manager. Pathe will continue to run two series at the same time. The stories of one will appear in the Sunday papers throughout the country, and those of the other in the dailies. The general direction of the Sunday serial will be in the hands of Assistant Managing Director M. Ramirez Torres; that of the daily will be taken care of by Mr. Douglas. Mr. Smith will have charge of the syndicating organization of both Pathe series. Hawkshawing a Film’s Popularity Is Mutual Plan Exhibitors Send in Private Reports of Each Picture’s Reception, Enabling Company to Detect Value of Subjects On Its Program As Attendance-Drawing Magnets PRESIDENT JOHN R. FREULER, of the Mutual, has just put into operation an effective system for accurate reports on what individual pictures on the new program are doing for the exhibitor. From cities and towns located in every important division of the country served by the Mutual’s sixty-eight branch offices, reports are made by exhibitors direct — and confidentially to Mr. Freuler. By turning to a special file of daily reports the man who guides the make-up of the Mutual’s program can tell on the instant how the exhibitor is prospering or failing to prosper with any particular release in any part of the country. The daily reports give Mr. Freuler data on the program used by the house on each day. The attendance, afternoon and even ing, the weather, the advertising used by the house, and the same data for the corresponding day of the year before. If George Ovey in a Cub comedy, brings a big attendance on a certain Friday in a house that has suffered dull Fridays, this Horsley release gets due credit. If a new feature is going out it is easy to trace the course of its success by these same attendance figures and the controlling factors of weather, advertising and house conditions. “These reports give me a finger on the pulse of the public and a sort of thermometer for the temperature of the trade,” observed Mr. Freuler. “The exhibitor can expect to see the program continually being built up with the films which this system proves are making money.” brief intermission. Geraldine Farrar, in her film version of “Carmen,” the evening’s piece de resistance, was received with frequent applause. The wonderfully synchronized orchestral accompaniment, “ Carmen ” the Opera and “Carmen' the Photoplay Reuiew of Bouton Grand Opera Company's Rendition of Bizet's Musical Gem as Compared With Lasky' s Film Version. By Clover Lord. IZETS melodious portraiture of "Carmen" will forever grace the walls where hi i |j the masterpieces of the world It has become port of the actual food of life i I will always he one of the choicest morsola on tho musical menu of ontertalnm. I The nucleus of Bleet's theme, however, was but an ordinary seed which I master nurtured In his pregnant brain— nourished It to the point where It becam< part of the masters own musical self And the operatic fruit, being tho efforts oi rcnlus, "Carmen" Anally beoamo recognised as a masterpiece on Its merit But Blxet's color scheme was largely dependent upon the scale anil tho staff, which, naturally enough. Is not an unlimited field. . The seed, therefore, did not benefit by any of the natural or modern elements, but depended entirely upon genlua Opens a sew field, colled the photoplay, whose scopo Is not only unlimited, bat alluringly colorful In possibilities — whose settings are mostly God’s handiwork extending tliruout tho bcoad wide world. Last w-ek. at the Auditorium, was presented "Carmen" the opera in ope. form. Last night, at the new Strand Theater, was prevented a new photoplay creation. ’ Carmen," In 0.000 feet of flirt. And flow. Just tor curiosity's sake, let us compare two productions. ♦ % “CARMEN." t The Opent-l PRESENTED by the Boston Grand Opera Company at the Auditorium Theater. Thursday evening, Oct. 7 Orchestra conducted by Roberts* Mofanzonl. Reglseeuh OeneraL Ryszard Ordynskl Choreographic director. Ivan Clustlne • Marla Oay In the role of Carmep Volcet r and V ie of volume, v >* main asset* of the Bostonians who sang the Bizet gent a week Thursday, eaceptjfug. of course. Roberto Morantonl and Me conducting of ever symphony organization o Locale ' artists And. as la ugually the rule n operatic presentations voices ire main ksc-t* we ajwaye expect to find, munately humaqlty consoles Ifself “CABMEN/ (Tho Photoplay. / PRE8L>»TSJd by Hie Strand Theater . Compdn r «l the ne« Strsnd Theater Friday evening. Oct 15. Produced by (he Jesse L Lasky Feature Play 'Company Directed by Cecil dMlllo. Orchestra conducted by Arthur LH>qtjam. Geraldine Farrar in the role of Carmen. T6ur Imaginative muio is not called to account when you see "Carmen'’ on the ecreen. All t9 there— all the grandeur which the Composer of the opera hopod hie .melodies would Inspire The entiro production is practically without faults Photoplay Is truly a masterpiece Motion photography has many times stood the acid teet of entertainment, but nt tho e-trand you get It with all aristocratic embellishment. all the splendor ?jid pomp of ' amusemet ushered HOW THE CHICAGO EVENING POST TREATED “CARMEN” THE OPERA AND “CARMEN” THE PHOTOPLAY, SEEN IN CHICAGO WITHIN A FEW DAYS OF EACH OTHER selected from the Bizet score, added greatly to the effectiveness of the drama. A short intermission followed, and Burton Thatcher then sang an old English ballad. A Paramount comedy concluded the program. “The Carmen” engagement will continue for two weeks, when the regular StrandParamount program will be resumed. The Strand program will be changed every Sunday. The afternoon prices range from fifteen to seventy-five cents, and the evening tariff is from fifteen cents to a dollar. The pictures are to be given with a piano and harp accompaniment from noon to 2 p. m. and from 6 to 7.45 p. m. During the remainder of the time from noon to 11 p. m., there will be a complete musical program. The management will continue its popular innovation of a special children’s performance every Saturday at 10.30 a. m., with the admission price ranging from ten to fifty cents. By a peculiar coincidence, the opera of “Carmen” was sung a few nights before Farrar appeared on the screen for Chicago audiences. The cut accompanying this story is taken from the Chicago Evening Post, illustrating how that newspaper accorded the film the same sort of reception it gave to the opera. The Post said : “All ‘Carmen’ is there — all the grandeur which the composer hoped his melodies would inspire. The entire production is practically without faults and as a photoplay is truly a masterpiece.” The Tribune declared that “‘Carmen’ is so excellent a picture it scarcely seems to be a picture.” William C. Esty. Table of contents will hereafter he found every week opposite inside back cover.