Motography (Jul 1918)

July 13, 1918. MOTOGRAPHY 53 Madge Kennedy is a big favorite. — Gem Theatre, Corwith, la. Nearly Married, with Madge Kennedy (Goldwyn) — I thought this a bit drawn out but it pleased my patrons. Crowded houses for a twoday run. — Savoy Theatre, Princeton, Ky. The Splendid Sinner, with Mary Garden (Goldwyn) — Drew crowded houses. The ending created much discussion. Some said they liked it. others found fault. — Visalia Theatre, Visalia, Calif. The Splendid Sinner, with Mary Garden (Goldwyn) — Drew capacity .business at nearly every performance. Mary Garden was very well liked. — Empress Theatre, Phoenix, Ariz. Our Little Wife, with Madge Kennedy (Goldwyn) — Madge Kennedy is a winner. This is the kind of production my people will turn out to see. — Grand Theatre, Wallace, Idaho. Our Little Wife, with Madge Kennedy (Goldwyn) — Print poor, but otherwise this proved a first rate attraction and pleased most of our patrons. — Dixie Theatre, Maysfield, Ky. Our Little Wife, with Madge Kennedy (Goldwyn) — A very pleasing picture. Good business despite rain. — Noble Theatre, Princeton, Ind. The Face in the Dark, with Mae Marsh (Goldwyn)— All Goldwyns pull well here and this is no exception. — Princess Theatre, Evansville, Ind. The Face in the Dark, with Mae Marsh (Goldwyn) — Good crowds flocked to see this. Personally I thought some scenes were a bit overdrawn, but heard no complaints from any of my patrons. — Superba Theatre, Alhambra, Cal. The Danger Game, with Madge Kennedy (Goldwyn) — Big business with this. Many patrons commented on it as being one of the best pictures shown at the Arc in a long time. — Arc Theatre, Crawfordsville, Ind. The Danger Game, with Madge Kennedy (Goldwyn) — This is great. Excellent business two days. Madge Kennedy pulls better with every picture. — Auditorium Theatre, Philadelphia, Pa. The Fair Pretender, with Madge Kennedy (Goldwyn) — A good picture but Madge Kennedy doesn't seem to take with the public here. — ■ A. R. Anderson, Orpheum Theatre, Twin Falls, Idaho. Kl eine The Unbeliever, with Raymond McKee (EdisonKleine) — Great? business. Audiences wildly enthused. A truly great patriotic subject. It rings with sincerity. — Sylvia Grogg. Grogg's Theatre, Bakersfield, Cal. Metro The Landloper, with Harold Lockwood (Metro) — Personally I think this is one of Lockwood's best. It took well with our patrons. Somewhat melodramatic but not overlv so. — Leo Peterson, Iris Theatre, Belle Fourche, S. D. The Landloper, with Harold Lockwood (Metro) — Star is always a drawing card. — L. L. Goldsmith, Class A Theatre, Seattle, Wash. The Landloper, with Harold Lockwood (Metro) — Very poor. Lockwood is a favorite here but such pictures detract from his popularity. — Sylvia Grogg, Grogg's Theatre, Bakersfield, Cal. Draft 258, with Mabel Taliaferro (Metro) — An average patriotic subject. Not as good as The Slacker. Film in poor condition. Rental too high. — Mrs. Nora M. Vincent. Bluebird Theatre, Girard, Kansas. — High class patronage. The Claim, with Edith Storey (Metro) — Fine. One of the best things Metro has given us. — Sylvia Grogg, Grogg's Theatre, Bakersfield, Cal. Lest We Forget, with Rita Jolivet (Metro) — One of the best of its kind. — G. L. Williams, Orpheum Theatre, Snohomish, Wash. The Only Road, with Viola Dana (Metro) — An average melodrama. Attendance fair in hot weather. — H. E. Daigler, Mission Theatre, Seattle, Wash. — High class downtown house. Mutual Molly Go Get 'Em, with Marguerite Fisher (American-Mutual) — A splendid comedy in five parts. It will go big with any discriminating audience. Miss Fisher does not need a lot of advertising to put the picture over for everybody likes her. — A. R. Anderson, Orpheum Theatre, Twin Falls, Idaho. Social Briars, with Mary Miles -Minter (American-Mutual)— Very good. Star draws well. — H. E. Eaigler. Mission Theatre, Seattle, Wash. — High class downtown theatre. Paralta The Turn of a Card, with Warren Kerrigan (Paralta) — A splendid production. A fine production of the comedy-drama type. Not a dull moment in the entire seven reels. The shooting of the oil well is the real thing. Photography is ■beautiful. A number one feature. — A. R. Anderson, Orpheum Theatre, Twin Falls, Idaho. The Biggest Show on Earth, with Enid Bennett (Paramount) — One of those pictures that is not great but leaves a pleasing feeling after you have viewed it. Good for children. Contains plenty of circus atmosphere. Business good with this. — Charles H. Ryan, Garfield Theatre, 2844 Madison street, Chicago. — Middle class neighborhood. Rich Man, Poor Man, with Marguerite Clark (Paramount) — Much better than the fairy stories this star has worked in. My patrons liked it. The star has lost some of her following. — Charles H. Ryan, Garfield Theatre, 2844 Madison street, Chicago. A Man's Man, with J. Warren Kerrigan (Paralta) — Undoubtedly the best Kerrigan has ever done. Just a suggestion here — he needs better feminine support. Peter B. Kyne's story is brimming over with human interest and action in every foot of film. It bears out the pre-release advertising that "When it says the end, you will ■ have had but half enough." I played this against Ince's Zeppelin's Last Raid, in a town of 3,000 and we kept the S. R. O. sign busy at advanced prices. Does not this alone speak well for the picture, when we acknowledge the high standard of Ince productions? — Mrs. Nora M. Vincent, Bluebird Theatre, Girard, Kansas. The Fair Barbarian, with Vivian Martin (Paramount)— A very good light comedy drama which pleased all. The usual light plot for this star, which the public appreciate and enjoy. Not great but pleasing. — Leo Peterson, Iris Theatre, Belle Fourche, S. D. Wild Youth (Blackton-Paramount) — I can't say much for this in the matter of entertainment. It is hardly an average program offering. There are some unusual photography and effects. — Leo Peterson, Iris Theatre, Belle Fourche, S. D. Paramount Her Final Reckoning, with Pauline Frederick (Paramount) — Patrons highly pleased. Star draws fairly well for me. Business good. — G. T. Porter, Lyric Theatre, Blue Island, 111. Mile-a-Minute Kendall, with Jack Pickford (Paramount) — Speed is right. The best picture Pickford has put out so far. — George H. Done, Gayety Theatre, Payson, Utah. — Mixed classes of patronage. The Bravest Way, with Sessue Hayakawa (Paramount) — Fairly interesting. Pleased my pa trons. This star does not draw here. Porter, Lyric Theatre, Blue Island, 111. -G. T. Resurrection, with Pauline Frederick (Paramount)— fiood but it didn't take. Not enough fine clothes for Pauline. — George H. Done, Gayety Theatre. Payson, I'tah. Let's Get a Divorce, with Billie Burke (Paramount)— Above the average. — G. L. Williams, Orpheum Theatre, Snohomish, Wash. Eve's Daughter, with Billie Burke (Paramount) — Far below the Paramount standard. Story Being an actor in Fox-Lchnnan Sunshine comedies is not such an easy job as it sounds. For instance, how would you like to play opposite this lion?