Moving Picture World (July-Dec 1909)

THE MOVING PICTURE WORLD 583 their little home. Virginie, however, has never forgotten the humiliation she endured that eventful day In Che laundry, when Gervaise attacked her. and she Is ever on the alert tu have revenge. One day when Gervalse and her little daughter carry Coupeau bis lunch, we see the latter come down from the housetop where he is working, ami going with his little family to a secluded spot, he enjoys a hearty repast.' Virginie, who has been haunting the neighbor] d, climbs upon the scaffolding and loosens some of the boards. As Coupeau climbs the ladder to return to work be stops for a moment to wave good-bye to bis dear ones, when suddenly the planks give way under bis feet and he is precipitated to the ground below. The other workmen who hurry to the scene tenderly raise the injured man and carry him to bis home. Part Two: During Coupeau's convalescence, Gervaise has a birthday, and in honor of the event the happy couple give a little party to their few good friends. It is at this function that Gervaise sees her husband take bis first drink. From that day, Coupeau loses all ambition and self-respect, and refuses to return to work. His poor wife is made to shoulder the responsibilities of the household while he spends bis time in the tavern. One day Coupeau happens to meet Lantier in the saloon and in the course of conversation bets the latter than be can drink eight brandies while the clock strikes eight. The wager is placed, but Coupeau loses, for he is only able to finish six before he is helplessly intoxicated. At this juncture Gervaise enters the place and, seeing the condition of her husband, begs him to go home with her, but the drunken man positively refuses to move. Finally Conpeau is attacked with delirium tremens and after a difficult struggle with his companions, is carried a raving maniac to the hospital, where he remains for two years. On leaving the hospital, Coupeau is warned against the use of strong liquors; the smallest glass, he is told, will cause immediate death; he may, however, partake of a very little red wine. He is accompanied home by a friend, who stops on the way and purchases a bottle of wine. Great Indeed is the joy in the little home when Coupeau arrives, and after an effusive greeting, Gervaise takes her basket and hastens off to purchase some food for the poor invalid. While Gervaise is absent the heartless Virginie slips into the room and substitutes a bottle of whiskey for the wine. Soon the sick man feels the need of a drink, so going to the closet he picks up the bottle and raises it to his mouth, but scarcely has it touched his lips when he realizes that lie is doomed. Burning with the desire for liquor, the unfortunate man drains the bottle of its contents and is immediately seized with delirium tremens. After much suffering the victim of drink falls prostrate upon the floor, where bis lifeless form is found by his unhappy wife upou her return. SELIG POLYSCOPE CO. THE COWBOY MILLIONAIRE.— Bud Noble, a handsome specimen of manhood. Is foreman on the Circle "D" ranch outside of Circle City, Idaho, and our opening scene pictures Bud as the cowboy roping and tying a steer. With its bucking bronchos, pitching mustangs, bucking steers, and the biggest novelty ever — the acme of all thrillers— "see Bud bulldog a steer." Only three men have successfully accomplished this feat and lived to tell about it. Then Bud receives a shock. The local operator appears with a telegram. "Your Uncle John dead. You are sole heir to his estate valued at several millions. Come to Chicago at once." The astounded cowboys tumble over with sheer amazement. Bud buys and the scene closes with a characteristic rush for the bar. "One year later" Bud tires of society. We see Bud and his new wife entertaining and our cowboy shows plainly that he is desperately weary of the effete East, then Bud goes to the club and the men he meets there and their conversation is getting on his nerves. "After the theater" — -a return home and Bud longs for the fresh air of the vast West. As he sinks wearily into a chair a Remington painting catches his eye. It is one he had recently purchased — a broncho buster and his locoed horse. The artist had caught the wild spirit of his subject, and as Bud's mind returns to scenes of a similar nature, a happy inspiration comes. "By Jove, I'll do it." He seizes a telegraph blank, rings for his butler, and sends the following message: "Col. Dalton, Foreman Circle 'D' Ranch, "This high brow life is killing me. Am sending you special train. Bring the whole outfit, band, horses and all. This town needs excitement. Come and help wake it up. BUD." A few days later we see the boys at a swell suburban depot: Bud and his wife in their auto, and the punchers in chaps and sombreros soon create a world of excitement' on the city streets. Then Bud takes the hoys yachting; next to see a melodrama, where the Colonel takes exceptions to the villain's heartless treatment of "Bertha, the Sewing Machine Girl." "Bud, either send those horrid creatures back where they came from or I get a divorce," declares Mrs. Bud. So the boys are next seen in a palatial cafe car homeward bound. The Colonel gets into an argument with the colored cook and that worthy dives through an open car window to escape the cowboy's wrath. Our closing scene is in the cozy home of the millionaire, lie and his wife are enjoying a quiet tete-a-tete when the butler bands in a telegram, It reads; "On root. Everybody enjo.vin' thcirselvcs. The Colonel sure some happy, lie just shot a coon. Will send the bill to you. THE BOYS." Bud laughs heartily. The wife joins and as she nestles up to her big manly husband, says: "You won't ever want to be a cowboy again, will you, Bud?" Bud turns slowly; looks at the Remington painting which has been the innocent cause of their recent quarrel, and walking over, he turns the picture to the wall, holds out his arms to his wife, and as her head nestles against his shoulder, we plainly catch his words, "Never Again." VITAGRAPH COMPANY. THE MEXICAN'S REVENGE A delightful love story of Southern California with an intensely dramatic episode which holds breathless attention, but from which the hero is extricated in sensational fashion to form a happy conclusion. It is a fete day in one of the coast towns just above tne .Mexican border and the officers of a United States warship have come ashore to enjoy the fun and visit the old mission which was built a couple of centuries before the settlement of the State by Americans. They mingle with the merrymakers, and one, Rosita, the acknowledged beauty of the town, attracts the attention of the captain of the cruiser. He asks the Padre for an introduction and this request is granted. It is apparent that the captain has strongly caught the fancy of the pretty Rosita, for she gives him a rose with a smile and a glance far more eloquent than the gift. The incident has not escaped the jealous observation cf Don Ramon Molina, a ranch owner, who intends to marry Rosita himself when he gets ready. There are words, to which the only answer is a blow, and Molina's ready knife leaps from its sheath. He is knocked down and now he is doubly eager for revenge. But the Americau is not slow to press his advantage. He wins Rosita's heart and her mother's consent to their marriage and, as the cruiser is to sail shortly, preparations are hurried forward for the wedding. The day of the ceremony Molina lies in wait for bis enemy and as the captain comes galloping along, attended by his best man, they are dragged from their horses by well-thrown ritas and Molina and his friends hurry the captain off to the timber. The lieutenant is left for dead, but he soon revives and makes what speed he can to where the wedding guests are waiting. Meanwhile the captain is securely bound and laid beneath a tree from the branches of which hangs an immense boulder, to which a rope is attached. The other end of this rope is carried some distance away and beneath this end a fire is built. There is a strain of Indian blood in Molina's veins and be would first torture and then kill his victim. The rope will take some time to burn through. When it does it will fall directly upon the helpless man, but meanwhile the suspense is far more terrible than even the thought of death. The men are gathered about enjoying the situation when, with a rush, Rosita leads the bluejackets to the rescue. The lieutenant has given warning in time and Rosita draws her lover out of the way the instant before the half-ton rock comes crashing to the earth. Molina is placed in custody and the wedding party hurried back to the hacienda, where the ceremony is soon completed and the festivities are resumed. A DULL KNIFE. — Maggie starts to slice some ham for luncheon, but the knife is too dull. It will have to be sharpened before she can go on with her work, and at that moment she bears the bell of the knife grinder and charges for the street. She startles a beggar woman, who decides that she is crazy and running amuck, and she flies from the assassin. The grinder steps into a store to see if there are any jobs for him, and Maggie, coming around the corner too late, does not observe this fact and puts on more speed to catch up with the elusive grinder. She gives no heed to the attention she is attracting, and though she starts a full-grown panic and a crowd madly rushes away from what they suppose to be butchery, she does not pause in her mad flight until she tears through a sidewalk band, throwing the terror-stricken musicians right and left, to turn her weapon over to another knife grinder. Then for the first time the crowd realizes what the trouble is and, sheepishly enough, they disperse. COSETTE. — The third in the series of films de luxe based upon incidents of Victor Hugo's Les Miserables. Cosette will be found to be a worthy successor to The Galley Slave and Fantine. Although telling a complete story in itself, the action forms a continuation of t lie earlier releases. Jean Valjean has escaped from the galleys at Toulon and is supposed to have been drowned, but he Is seen emerging from the sea and concealing himself in the thicket. He makes his way to the little village of Montfermeil, where, when eluding the police after the galley slave bad been recognized as M. Madeleine, the Mayor of his town, he buried the money be withdrew from the Paris bank. Provided with funds be makes his way to the inn of the Tbenardiers, where poor little Cosette, the child of the dead Fantine, is the slave of the brutal innkeeper and bis still more callous wife. Jean purchases Cosette's freedom, but Thenardier repents his bargain and the letter given Jean by Fantine, to whom be had promised the release of her child, is produced. Jean hurries away with the child and makes for Paris, but here he is again recognized by Inspector Javert and is pursued by the police. He seeks safety in scaling the wall of the Convent of Little Picpus, and here he finds Fanchlehant, whom be bad befriended in the old days. The old man secretes him in the coffin prepared for the dead nun as the soldiers demand admittance. To evade suspicion old Faneblebant accepts the proffered aid of the soldiers in burying the coffin, and though each spadeful of earth brings the cold sweat to his brow, he continues his task until the soldiers retire and he is able to break open the coffin and remove the insensible man. THE WEEK'S RELEASES AT A GLANCE, Monday, October 18. Biograph — His Lost Love (Dr.). Lubin — The Major and the Judge (Com.). Lubin — Haps and Mishaps (Com.). Pathe — The Belated Wedding (Com.). Pathe — Bob's Electric Theater (Com.). Selig — a Tale of the Backwoods (Dr.). Tuesday, October 19. Edison — Their Social Education (Com.). Gaumont— The Help Mate (Dr.). Gaumont— Husband's Strategy (Dr.). Vitagraph — The Mexican's Revenge (Dr.). Vitagraph — A Dull Knife (Com.). Wednesday, October 20. Essanay — The Widow (Com.). Essanay — A Woman's Wit (Com.). Melies— For the Cause of Suffrage (Com.). Pathe— A Home Without Children (Dr.). Urban — Casting Bread Upon the Water. Urban — Crown Prince of Germany Drilling Battery (Scenic). Thursday, October 21. Biograph — The Expiation (Dr.). Lubin — Mignon (Dr.). Lubin — Aunt Lena's Visit (Com.). Selig — The Cowboy Millionaire (Dr.). Friday, October 22. Edison — The Lost Handbag (Com.). Edison — A Great Game (Com.). Kalem — A Brother's Wrong (Dr.). Pathe— Drink (Dr.). Saturday, October 23. Gaumont — Tickled to Death (Com.). Gaumont — Country Life in a Flat (Com.). Pathe— Part II. of Drink (Dr.). Vitagraph — Cosette (Dr.). S*> Successful Exhibitors insist upon using the Best Machine and Film Service. We sell the best. We are special agents for the Motiograph, Powers, Edison and other machines. There's a big difference in Motion Picture Machines but our book entitled "The Motion Picture Theatre" tells all you want to know about the motion picture business and it's yours for the asking. Ar*> Ynn ^atUfiprl with y°ur film Scrvicc? Are lou aansnea !f notf write us We get at least one copy of each of the 1 8 reels produced by the licensed manufacturers each week. ^*=— ^ We feel sure we can improve youi .service. Tell us your requirements and we'll submit you prices. THEATRE FILM SERVICE CO., 85-87 Dearborn St., Chicago, III.