Moving Picture News (Jul-Oct 1913)

22 THE MOVING PICTURE NEWS THE VITAGRAPHERS GO TO WAR A Real Live Battle in the Skies and on the Field of Action Two hundred and fifty men of the Fourteenth State Militia Regiment, of Brooklyn, N. Y., have not gotten over their surprise from the thrilling experience they had while taking part in the producing of the big Vitagraph Company battle drama^ "Warfare in the Skies." When they left their barracks in Brooklyn on Sunday, the 31st of August, in a special train bound for the Moisant Aviation Field, at Garden City, Long Island, they had an idea they were going to some sort of pink-tea outing, but when real work began and the battle was on, they quickly changed their minds. Speaking to A. V. Smith and Walter Ackerman, the two men who had charge of the work for the Vitagraph Company, one of the soldiers said: "I had rather take a chance in real warfare; I should feel safer." This man was thinking of his comrade who was thrown from his horse and severely wounded during one of the thrilling charges in the battle when two aviators from the enemy's camp swooped down over the regiment and hurled deadly bombs into the midst of the commanding ofiicers, blowing them to smithereens. The scene in which the aviators took part lasted just one-half hour and cost the Vitagraph Company more than $1,500. A much enjoyed episode in the day's program was the outdoor lunch served to the soldiers and actors by the Vitagraph Company on the battlefield under the open skies. It was just as it would have been in real warfare, the only difTerence being that the men got a much better lunch than they would have had if their officers had been on the alert for the rumble of cannon. They were on the alert, but they knew that they would be given a full hour before the call to arms again sounded. The soldiers and the actors of the Vitagraph Company reached the battlefield at eight o'clock in the morning. The regiment was under the command of Major Donovan. After a short conference between the officers and directors, the battle began. It raged all day with increasing vigor until three-thirty in the afternoon, and with only one lull in the middle of the day for luncheon. It was not play. It was real work, but full of excitement and ■thrills. It was action from beginning to end, and it required strong nerves and muscles to stand the strain. When the two aviators appeared in the heavens over the heads of the fleeing soldiers and dropped the bombs into their midst, many of them blanched and shuddered; this was real warfare, indeed. It was during one of the mad dashes across the field that the soldier who was hurt was thrown from his horse. He was riding in the front line of the charge. His horse stuck its foot in a bad hole, stumbled and fell. The trooper was thrown clear over the horse's head, right in front of the oncoming regiment. Those who were immediately behind saw him fall, and they luckily succeeded in swerving their horses to one side as they rode past, thus saving his life. The fallen soldier was wounded about the face and head. One ear was badly torn and his face severely bruised. He was attended by a doctor from the Vitagraph Company, who was on hand for just such an emergency. The doctor bandaged his face and sent him home. The soldier smiled ruefully as he walked from the field, and as he reached the side lines he said to a spectator: "I'm mighty thankful I did not lose a leg or an arm. No more 'movie' battles for me!" The picture of "W^arfare in the Skies" was directed by the Vitagraph director, Fred Thomson. Another scene is the clashing of two huge aeroplanes in contest for the mastery of the field. Like two great birds of prey, they came together with terrific force, smashing the machines into pieces, which scatter and fly through the air like so many feathers from these winged vehicles of modern battle. Aside from the ferocity of the scene, we cannot help but marvel at the immense amount of property destroyed and the great expense involved in prodticing scenes of this kind. This thought often comes to the mind of the person who sits quietly in the theatre, as the picture is run, but no one can thoroughly appreciate what it means to enact such scenes without they are actually upon the ground and have intimate knowledge of the great ingenuity, skill and research necessary to make them possible. "IN THE BISHOP'S CARRIAGE" Miriam Michelson's Famous Story, Produced by the Famous Players Film Company "In the Bishop's Carriage," the famous story published by The Bobbs-Merrill Company, upon which a very successful rnd popular play has been based, will be released September 10th by the Famous Players Fihn Company. The film version of this noted subjecj: presents Mary Pickford in the absorbing role of Nance, who with Fate as stage director plays many strange parts, until she eventually adopts a role that leads to love and happiness. The play is a fascinating drama of the underworld that approaches tragedy and ends in romance. The story as told in the pictures introduces Xance Olden SCENE FROM "IX THE BISHOP'S C.\RRIAGE" as an inmate of the Charity House. Falsely accused of theft and cruelly punished, she decides to rid herself forever of the matron's persecution. Pursued by the police, she takes refuge in the room of Tom Dorgan, the crook, where later he finds her. Both refugees from a doubtful justice, their common lot inspires them to establish a partnership in crime. After a daring theft of jewels, the loss of which is almost immediately discovered, Nance, in terrified despair, eludes the police by jumping into "the bishop's carriage." From this incident a chain of thrilling adventures progress, until Nance is again rescued from the police by the tnnely intervention of Obermuller, a theatrical manager, who is impressed with her mimic talents and who offers her a position on the stage and a chance to travel the straight road. Now occurs a bitter contest between Dorgan and Obermuller for the loyalty of Nance, which is culminated by the arrest and conviction of Tom. Nance's admiration for Obermuller ripens into a requited love, and she attains fame and fortune as an actress. And then a shadow of the past crosses her path. Tom escapes and returns to claim her; but his purpose is defeated by Obermuller. Only once more is she tempted by the old fascination ; only once more she steals — and then she really conquers her preying weakness, marries Obermuller and drinks the sweets of a righteous existence. BERNSTEIN ORGANIZING CHILDREN'S COMPANY General Manager Bernstein, of the Pacific Coast Studios, is organizing a regular children's company, which is to include Antrim and Gertrude Short, Boris Baker and Joe ^lattice, four of the cleverest mites ever had in pictures. Harry Pollard, superior to all in this line, is putting on the pictures, which are rated to make a big appeal through naturalism and pathos. Contrary to the general rule with many companies, his plays lack the artificial note — hence one of their charms. "Playmates" is the title of the first to be released. It revolves about a ricli little girl who makes a playmate of an organ-grinder's girl. Even in death their attachment continues. Gertrude Short. Katherine Pyle, Ed. Alexander, Edna Maison and Elizabeth Burbridge are seen in the pictures.