Motion Picture News (Sept-Oct 1918)

September 38 , i p / S 2093 " Come On In," with Shirley Mason and Ernest Tmex I Paramount — Sept. 22. Directed by John Emerson) THE first half of this picture will make your sides ache from laughing. The father half will make you sit on the edge of your seat from excitement and thrill. The cometly element is derived from the cleverly constructed subtitles, in broken Iviglish, as spoken by a German, calling " Boy " " Poy," and " Just " " Chust," naming one of the characters, representing a German spy, " Ophul Schmell'' another one, " Mr. Bumstuff," and many other word twistings. They were written by the well known and only Anita Loos, who is unique in this line. There is none in the field who can equal her when it comes to putting humor and witticism in subtitles. The excitement and thrills will be caused by the spies' kidnapping of the colonel a. id the latter's rescue by the hero. The story' is by John Emerson and Anita Loos. It is a travesty on the haughtiness of the Germans and their attempts to stop the United States from entering the war. In one instance a telegram is sent to the All-Highest — meaning the Kaiser — announcing the fact that some Mexicans had raided a border town, capturing three American mules. It is signed by Bumstuff, the arch-spy. The only bad point in the story is the marriage of the heroine to the spy. It is in bad taste to have done so, since on one hand she is shown as doing detective work for the good of her country, while in the other as being too confiding. However, this is only a minor fault and it will not affect the entertaining values to a noticeable extent. The picture is the first of a series to be produced by the Emerson-Loos combination and released through the Paramount program. It is clean and should please all. — P. S. Harrison. )! 4 " Behind the Lines in Italy " — Kleine (Kleine — 6 Reels. Released in October) THIS picture has been produced with the co-operation of the Italian Government. Its purpose is to show to the American public what the Italian army in the front line and the people, back of the line have been doing toward winning the war. It shows the manufacturing of guns of large and small caliber, shells, bombs, automobiles, tanks, aeroplanes, and almost every instrument used in war. Of course, similar pictures have been shown by the American and British Governments in the past, but these are more extensive and more comprehensive than most that have reached the screen. One particular thing that will arouse interest is the manufacture of glass for lenses and prisms. This industry has sprung up since the war, and has never been seen in any of the pictures before. It should be a matter of patriotic duty to run these pictures, as it brings home what our other Allies are doing, thus encouraging Americans toward redoubling our efforts. — P. S. Harrison. " Love of Luxury," with Ruth Clifford I Bluebird — Oct. 7. Directed by Elsie Jane W ilson) THIS is just an average program offering. It may please some picturegoers, not on account of the merits of the story, but because of the emotional acting of Miss Clifford. The story necessitates the employment of two characters that are anything put pleasing. For instance, " She " is supposed to be a young and pretty girl brought up in a convent. She meets " He, No. 1," and falls in love with him. He is a young farmer boy. Such a match doesn't bring any sympathy to either. Then comes " He, No. 2," a man about forty-five years old and, because he has the money, he tries to take her away from " He, No. 1." Love dealings between a man as old as that and a girl apparently seventeen, are not welcome to screen patrons. We will not argue that it doesn't happen almost every day. It is not the general rule. The way it appears to an observer, there is a tug of war going on in this picture between a weak story, demanding displeasing casting, pulling on one side, and splendid emotional acting of the star, on the other, the latter winning by a narrow margin. It is a clean attraction. Length, 5 reels. — P. S. Harrison. ADDITIONAL MUSIC CUES (Continued from page 2077) A NYMPH OF THE FOOTHILLS The (1,000 feet) Theme (Vitagraph-Gladys Leslie) Specially Selected and Compiled by M. Winkler timing is based on a speed limit of 14 minutes per reel Mountain Song" (Characteristic Andantino Moderato) by Gaston Borch 1 — Theme (2 minutes and IS seconds), at screening (water effects). 2 — " Pulcinello " (Allegretto Intermezzo), by Aletter (3 minutes and 45 seconds), until — T: "Jeff Crandall, who has long." 3 — "La Grace" (Characteristic Moderato Intermezzo), by Bohm (3 minutes), until — T: "Plenty of time to be" (rain and water effects). 4 — "Pastoral" (Characteristic), by Kiefert (3 minutes and 15 seconds), until — T: "Alky Hall, who lives as — ." 5 — Theme (3 minutes and 45 seconds), until — T: "You'd a made a ketch." 6 — "Vivo Finale" (Symphonette Suite), by Berge (3 minutes), until — S : When fishing rod drops in water. 7 — " May Dreams " (Moderato Romance), by Borch (2 minutes and 45 seconds), until — T: "But in spite of all" (water-fall effects). 8 — Theme (1 minute and 15 seconds), until — T: "We too, might build us a." 9 — "Agitato No. 49," by Shepherd (1 minute), until — S: When Emmey and Ben leave tree (shot). 10 — "Dramatic Tension," by Levy (1 minute), until — S: When Emmey enters house. 11 — Theme (2 minutes), until — S: When Emmey climbs through window. 12 — " Furioso No. 60," by Shepherd (30 seconds), until — T: "She's run away with that." 13 — Theme (2 minutes and 15 seconds), until — T: "This is the little woman." 14 — " Andante Appassionato," by Castillo (2 minutes and 45 seconds), until — S: When Emmey looks at ring (shot) (train). 15 — "Tragic Theme," by Vely (3 minutes and 45 seconds), until — T: " At the home of the Kirklands." 16 — " Sinister Theme," by Vely (4 minutes), until — T: "While back in the foothills." 17 — "Serenade d'Amour " (Moderato Grazioso), by Blon (1 minute and 30 seconds), until — T: "Sometimes life is just one — ." 18 — " Hunkatin " (Half-Tone One-Step), by Levy (2 minutes), until T: "Social evolution." 19 — Theme (2 minutes and 30 seconds), until — T: "Their first parting." 20 — " Elegie " (Allegretto Semplice) Op. 38, by Grieg (3 minutes), until — T: " Where were you married? " 21 — " Homeward " (Allegro Giocoso) Op. 62, by Grieg (3 minutes), until — S: When Emmey enters bedroom (train effects). 22 — "Andante Doloroso No. 51," by Borch (4 minutes), until — T: " Back again with the cool — ." 23 — "Dramatic Andante," by Berge (3 minutes), until — T: "The scales of justice." 24 — " Dramatic Tension No. 44 " (Moderato Agitato), by Borch (2 minutes), until — S: When jury returns to court. 25 — " Dramatic Finale " (Moderato Appassionato), by Smith (1 minute and 45 seconds), until — T: "This is a fine court" (shot). 26— Theme (1 minute and 15 seconds), until — T: "After long searching he — " — until the END. Studios for Lease PRODUCERS can solve Fuel Problem this winter by moving to Los Angeles. Save time, trouble and money by leasing Studio location through us. Most complete listings of all available Studios. Personal attention given Moving Picture Business R. A. Rowan & Company 200 Title Insurance Building, Los Angeles, Cal. We Can Pay Attractive Prices for Old Moving Picture Films in Reels or Scrap PETER LEONARDIS & SONS 132 Nassau St., New York City 55 to 59 River St., Newark, N. J.