Motion Picture News (Sept-Oct 1918)

October 26, 1 p / 8 2711 "THIRTY A WEEK"— GOLDWYN " Give Tom Moore More Stories Like This" Says Harrison THERE is no reason in the world why Tom Moore should not create a steady following that will go to see him whether it rains or shines. He has the appearance and ability, and is seconded ably by the young lady playing opposite him. But he must be furnished with stories (if the same excellence a9 this one is, presenting him as a thing human. The plot of this picture is simply an every day occurrence, such as you have seen in real life yourself or read in newspapers. Not one point in it is exaggerated. He is a chauffeur, she the daughter of his wealthy boss. Although engaged to another, a weakling, the heroine is in love with the chauffeur and they marry. Papa is angry and wants to bring about a divorce but without success. Due to a misunderstanding the couple become estranged, but when the father finds out his son-in-law is a real man, a reconciliation is brought about and everybody is happy. There is light comedy and romance in the first part of the picture. The balance contains splendid dramatic values. The estrangement is pathetic, while the reconciliation is correspondingly productive of joyfulness. The sight of a son showing boundless love to his mother brings lots of sympathy to the hero. Grace Henderson, as the mother, looks very much like one. This attraction should please everybody. It is clean and offers a wholesome entertainment.— P. S. Harrison. THE CAST Dan Murray TOM MOORE Barbara Wright Tallulah Bankhead Mr. Wright Alec B. Francis Mrs. Wright Brenda Fowler Freddy Ruyter Warburton Gamble Mrs. Murray Grace Henderson Minnie Molloy Ruth Elder By Thompson Buchanan. Directed by Harry Beaumont. Photographed by George Webber. ADVERTISING AIDS PAPER: — There are ones, threes and sixes on this production, as well as the stock twentyfour-sheet. LOBBY DISPLAY: — Scene stills come in the regulation sizes: 8x10, 11x14 and 22 x 28; all attractively colored. ADVERTISING CUTS:— These are supplied in one and two-column sizes, contain selected scenes from the production and are attractively lettered. TEXT CUTS: — There are two one-column cuts of Moore and one two-column. There are also two two-column scene cuts and a one-column of Moore and Miss Bankhead. MUSIC CUE SHEET and current and coming slides also procurable at all Goldwyn exchanges. AD TALK Tom Moore, who made such a hit with patrons of the theatre in his first starring pic ture, " Just for Tonight," returns to the house on of week in " Thirty a Week," a romantic comedy-drama of the first class. While the previous picture met with approval on all sides it is not stretching the point to say that the present one is superior to it in many ways. It is based on the popular play of the same name by Thompson Buchanan, an experienced author. Certainly Mr. Buchanan's comedy sense showed itself well in the writing of " Thirty a Week." Sparkling originality marks almost every passage of consequence in the picture and with Mr. Moore as the chief player they appear in a particularly attractive light. The star is cast as Dan Murray, a chauffeur who loves and is loved by his employer's daughter, Barbara Wright. Barbara thinks Dan much superior to the average man she meets in her own set. He is a gentleman, keen and good looking. Barbara doesn't ask for more. But how to get Dan is a question, as he realizes the difference in their positions and hesitates to propose. So finally Barbara hits upon a plan to make him speak the magic words. While out riding, the car breaks down and Dan seeks the cause of the trouble. He is so engrossed in his seeking that he doesn't notice Barbara removing one of the vital plugs of the engine. So when the car won't go there is nothing to do but to stay out all night as they are far from shelter. Moved by the magic of the moonlight Dan proposes and the next day Mr. Wright hears of a marriage that doesn't please him at all — . But we aren't going to tell you all the happy story here. Mr. Moore, aided by Tallulah Bankhead and Alec Francis, do it much better on the screen. THE STORY Dan Murray is only a chauffeur but he is a thorough-going gentleman and good looking — and this is exactly the sort of a fellow that Barbara Wright wants for a husband. Barbara, however, has the misfortune to be the daughter of Dan's very rich employer and while she is well aware of that fact that Dan loves her equally as well as she loves him, she is also well aware of the fact that he will not speak his love because of the gulf that money throws between them. So Barbara resorts to strategy. While she is out motoring a long-awaited motor trouble causes Dan to get out and get under and while he is thus occupied Barbara removes a very important part of the engine. And the darned thing just refuses to move after that. And then night comes on and at first Dan is quite petrified but it is much easier to speak of love at night when there is a nice moonlight and Dan just can't control himself. He speaks. Barbara nods. Elopement. Marriage. Result: a furious Mr. Wright insisting that the whole thing shall be annulled. But Barbara and Dan are not to be so frightened. They set up house keeping and make an attempt to get along — but it's hard, for Mr. Wright causes Dan's discharge from several positions. At last, an old friend offers Dan the chance to drive his car in a race and Dan brings her in third and wins five hundred dollars. This, in the very goodness of his heart, he turns over to Minnie Malloy, a friend of his family's whose husband needs to be taken West. Barbara's rejected suitor sees this and reports to her. Unhappy, she returns to her home. Dan is offered a large sum by the family lawyer to permit the marriage to be annulled, but he refuses and the lawyer learns the truth. When Wright hears of this he immediately sends for Dan and offers him his hand. His generosity has touched the old gentleman's heart. And as for Barbara! CATCH LINES Tom Moore, Goldwyn's new star in his second picture — a lively, romantic comedy-drama in which he receives excellent support from pretty Tallulah Bankhead and sterling Alec Francis. Barbara Wright knew that Dan, her chauffeur, loved her and at the same time knew that he wouldn't propose. So naughty Barbara fixed it so that he was forced to stay out all night with her — then he just had to speak the words. Exceeding in the elements of romance and comedy even the previous Tom Moore picture, " Just for Tonight." How much does it take for a chauffeur to support a millionaire's daughter as his wife? More than "Thirty a Week?" See Goldwyn's latest and find out. SUGGESTIONS Many exhibitors are finding that comedydramas are gaining in popularity with each day and many have also discovered that Tom Moore is one of the most popular stars in this type of production. " Thirty a Week " is his second starring vehicle and should not be overlooked because of the above mentioned reasons. Play it up as a romantic comedy enacted by attractive players and feature Moore heavily. Along with this there is the good, snappy titles that should prove an added attraction. MANUFACTURERS' ADS Manufacturer's advertisements from which exhibitors can glean interesting information and advertising suggestions on this picture appeared in the MOTION PICTURE NEWS October 19 issue, page 2473; October 12 issue, pages 2278 and 2279. Tom Moore — a star who relies on neither guns nor clothes, neither patent leather hair nor stunts to put his work over. All Tom needs is Tom. TOM MOORE in THIRTY A WEEK Wflt Goldwyn Pictures One-Column Scene Cut at Goldwyn Exchanges