The Moving Picture Weekly (1920-1921)

2& -THE MOVING PICTURE WEEKLY Stories To Be Used In Connection With ^^Once To Every Woman" Dorothy THE STORY CENTERS AROUND A WOMAN' SELFISH AMBITION AURORA MEREDITH is the eldest daughter of a blacksmith's family, whose home is the village of Pleasanton. Because of her good looks and sweet voice, Aurara is the family pet. The other children give way to her in everything. If any other member of the family is in sore need of new shoes, it is Aurora who gets a pair of high-laced boots to match her new suit, while her sisters and her parents make their own battered footgear do for a while longer. Phineas Scudder is a village boy for whom the sun rises and sets, according to Aurora's moods. Aurora's attitude toward him is that he is good enough to buy her soda until some one more presentable comes along. The graduation of her high school is a triumph for Aurora. She is the unchallenged star of the occasion. She is the bright particular luminary of ihc church choir. A wealthy New York woman, realizing the promise of a great future m Aurora's vocal performance, offers to send her abroad to have her voice trained. Aurora's jubilant acceptance of the offer is contrasted with the sadness of her folks at partme. Aurora goes to Milan. Her patroness dies without having made provision for the completion of Aurora s musical education. Her family has strained its financial resources to the breaking point and can help her no further. Intending to repay him with money, Aurora accepts the financial aid of a young Italian. Her first important trial is successful. Juillantimo announces that the time has arrived for the settlement of the debt — and he doesn't desire money. Aurora flees from him and the country. In New York her voice proves a sensation. She is taken up by society. Recollections of the home folks, including the faithful Phineas, never disturb her. A British nobleman is anxious to marry her. She postpones her consent until after her initial performance of the leading role of a new opera. Juillantimo has followed her to America to collect the debt. She again offers him his money. Juillantimo secrets himself in a box, and as her performance nears its climax, shoots her. He misses, and, turning the revolver on himself, commits suicide. The shock deprives Aurora of her voice. Soon she learns that without it she is unwelcome in the gatherings of her erstwhile friends in society. Financially and spiritually broken, she returns to her home in Pleasanton. The home folks still regard her as a most wonderful person. Aurora experiences remorse, which becomes too great to be borne when her dying mother beseeches her to quiet her last moments by singing a favorite old song. Aurora, in anguish because of her inability to gratify her mother's last wish, attempts to sing — and DOES. The long rest, the tranquil life have effected a cure. News of her recovery reaches New York. Her former manager comes to Pleasanton, bringing with him a most advantageous contract for her to sign but Aurora, whose understanding of values has undergone a radical change, tears up the offered contract and, turning, gives her hand to Scudder. of hundreds of aspiring young photoplayers. A sympathetic understanding of the complex nature of what is generally known as a "boob" has enabled Andersen to depict the role of a rural Romeo with delightful realism. His first big part of that kind was with D. W. Griffith in "Hearts of the World," in which production he depicted the laughable role of "Monsieur Cuckoo." His first work in a photodrama in which Miss Phillips starred was in "The Heart of Humanity," Allen Hoiubar's masterful Universal war-drama. So capable was Anderson's portrayal of the role of "Paul" in that production that he was again summoned to Universal City when Allen Holubar began productions on "Once to Every Woman." DANISH IDOL STARS WITH DOROTHY PHILLIPS DOBERT ANDERSEN, called "The Greatest Dane Since Hamlet," supports Dorothy Phillips in the Universal start's epochal success, "Once to Every Woman." He was born in Odense, Denmark, and began his dramatic career on the speaking stage there and in other European countries. Four and a half years ago he came to America and immediately blazed a trail across the screen that is the envy GRAND OPERA REPRODUCED "IN ONCE TO EVERY WOMAN" 'J'HE Metropolitan Opera House, the world's most famous shrine of music, was duplicated at Universal City for one scene of "Once to Every Woman," Dorothy Phillips's masterpiece of the screen. Allen Holubar, directing Miss Phillips in her Universal productions, declined to use a lesser edifice and ordered the huge auditorium duplicated to its smallest detail. At a stupendous cost the theatre was built at Universal City in record time, workmen by the hundred working under the supervision of a corps of architects to complete the structure on schedule. For the audience scores of Los Angeles and Santa Barbara society people asked the privilege of appearing in a photodrama with Dorothy Phillips. Instead of the usual personnel of extra photoplayers, the seats were filled by wealthy amateurs of the drama. The costumes worn by the women will arouse interest because of their originality and richness. An entire chorus was rehearsed, the players singing the score. Nicholas de Ruiz, a noted baritone of the operatic stage, led the chorus and depicted the role of the Chinese Emperor. The Los Angeles Symphony Orchestra, under the direction of Adolf Tandler, occupied the orchestra-pit and played the accompaniment. It is a coincidence that Tandler was at one time concert master at the Metropolitan. In "Once to Every Woman," Dorothy Phillips is said to excel even her work in "The Heart of Humanity" and "The Right to Happiness."