Motography (Jan-Jun 1918)

June 1, 1918 MOTOGRAPHY 1031 good house when I present her. — Sam Atkinson, Hoyburn Theatre, Evanston, 111. Select Pictures are hard to beat. — Sam Atkinson, Hoyburn Theatre, Evanston, 111. The Shuttle, with Constance Talmadge (Select) — Good but it did not draw. Title is against it. The star is gaining in popularity.— Charles H. Ryan, Garfield Theatre, 2844 Madison St., Chicago. — Middle class neighborhood. Triangle The Bond of Fear, with Roy Stewart (Triangle) — A wonder of a production. A strong opening and strong ending. — William Maguire, Gem Theatre, Silverton, Colo. Double Trouble, with Douglas Fairbanks (Triangle) — The worst picture I have run. Drew a big crowd, which was too bad. — George H. Done, Gayety Theatre, Payson, Utah. The Shoes That Danced, with Pauline Stark (Triangle) — Fair of its kind. Pictures gangster life in East New York. — House and Justice, Grand Theatre, Marion, X. C. Flying Colors, with William Desmond (Triangle) — A picture with a punch. Desmond is a good favorite. — William Maguire, Gem Theatre, Silverton, Colo. The Food Gamblers, with Wilfred Lucas (Triangle) — A good picture, patriotic. — Loeffelholz Brothers, Auditorium Theatre, Cuba City, Wis. Borrowed Plumage, with Bessie Barriscale (Triangle) — Play O. K. but these costume pictures do not take. — Loeffelholz Brothers, Auditorium Theatre, Cuba City, Wis. Sudden Jim, with Charles Ray (Triangle)— A fine production. Ray has a chance to show his skill. — Loeffelholz Brothers, Auditorium Theatre, Cuba City, Wis. Vitagraph The Sixteenth Wife, with Mark McDermott (Vitagraph) — The best McDermott picture we have had. Good business in rainy weather. — E. W. Laun, Lyric Theatre, Platte Center, Neb. The Message of the Mouse, with Anita Stewart (Vitagraph) — Very good. Star draws well and the picture went over big. — E. W. Laun, Lyric Theatre, Platte Center, Neb. Dead Shot Baker, with William Duncan (Vitagraph) — A real picture and the kind that goes well here. — E. W. Laun, Lyric Theatre, Platte Center, Neb. Within the Law, with Alice Joyce (Vitagraph) — A wonderful production but for some reason it did not get the money with heavy advertising. — C. Everett Wagner, Dreamland Theatre, Chester, S. C. World Wanted, a Mother, with Madge Evans (World) — Drew well. Madge is a wonderful little actress. This will go over anywhere if properly handled. — T. F. Ware, Star Theatre, Talladega, Ala. Masks and Faces, with Sir Johnston Forbes Robertson (World) — If we could have viewed this before we ran it, we would have canceled it or put in on the shelf. It is one of those old-fashioned, lifeless costume plays, six reels of tiresome acting with no action and it will go over the heads of seventy-five per cent of your audience. Why World picks out these plays in the open market is a mystery to me. Exhibitors do not want costume plays. — Charles H. Ryan, Garfield Theatre, 2844 Madison St., Chicago. — Middle class neighborhood. Serials and Series The Lost Express, with Helen Holmes (Mutual) — Chapter five. Business holding exactly even this week. — E. W. Laun, Lyric Theatre, Platte Center, Neb. The Lost Express, with Helen Holmes (Mutual) — Chapter six. Business fell off with this episode, but it was probably because the enlisted men left town on this day. — E. W. Laun, Lyric Theatre, Platte Center, Neb. The Price of Folly, with Ruth Roland (Pathe) — Very poor. Miss Roland must be tired. — House and Justice, Grand Theatre, Marion, N. C. Vengeance and the Woman, with William Duncan (Vitagraph) — A serial story so impossible and so improbable that much of its entertainment value is lost. It looks as though they tried to burlesque a melodrama. — A. R. Anderson, Orpheum Theatre, Twin Falls, Idaho. The Hidden Hand, with Doris Kenyon (Pathe) — This serial fell below our usual business. It contained too much "rough stuff" and impossible escapes. The grownups did not care as much for it as the ones featuring Pearl White. — Charles H. Ryan, Garfield Theatre, 2844 Madison St., Chicago. — Middle class neighborhood. State Rights and Specials The Zeppelin's Last Raid (Ince-State Rights) — A good picture to good business in spite of heavy rain. — John B. Ashton, Columbia Theatre, Provo, Utah. The Zeppelin's Last Raid (Ince-State Rights) — A very good picture, showing the destruction done by the Zeppelins. Very spectacular. — A. R. Anderson, Orpheum Theatre, Twin Falls, Idaho. The Bargain, with W. S. Hart (State Rights) — Not up to the standard of present-day Hart pictures. This is three years old and it looks it. Titles are amateurish. It was a disappointment to us. Funkhouser made many cuts in it, and the Chicago copy, which was wound on six reels, was only about 4,500 feet. — Charles H. Ryan, Garfield Theatre, 2844 Madison St., Chicago. — Middle class neighborhood. The Messenger, with Billy West (Standard)— Terrible.— H. C. Miller, Alcazar Theatre, Chicago. — Downtown house. For good comedy run Pathe, Keystone, Mutual and Fox and your patrons are pleased all the time.— William Maguire, Gem Theatre, Silverton, Colo. MOTOGRAPHY is enabled to present, beginning this week, supplementary reviews of pictures by the NATIONAL BOARD OF REVIEW. Following are the first: Oldest Law (World) — Entertainment value, fair; dramatic interest of story, fair; coherence of narrative, fair; acting, good; photography, good; technical handling, fair; atmospheric quality of scenic setting, good; moral effect, fair. Believe Me, Xantippe (Paramount) — Educational value, good; dramatic interest of story, good; coherence of narrative, sustained; acting, good; photography, good; technical handling, good; scenic setting, good; moral effect, good. Joan of Plattsburg, with Mabel Normand (Goldwyn) — Entertainment value, good; educational value, good; dramatic interest of the story, fairly well sustained; coherence of narrative, good; acting, very good; photography, excellent; technical handling, striking; scenic setting, good; moral effect, excellent. The Fair Pretender, with Madge Kennedy (Goldwyn) — Entertainment value, good; dramatic interest of story, fair; co