The Moving Picture Weekly (1916-1917)

■THE MOVING PICTURE WEEKLY cmc an the play, and there will be a wealth detail and "atmosphere" seldom equalled en by the lavish Bluebird productions emselves. Miss Madison might be called the woman dual personality, for two sides of her aracter seem to be developed in equal jasure, and she finds herself alternately the grasp of each of them. She is both professional woman, and a domestic one, d it is impossible for her to decide, at nes, which is the real taste and which e cultivated one. She is the type of rson who does whatsover her hand finds do with her might, and while she is in e grasp of one personality she entirely rgets the other. Her screen side is failiar to her public. Her thousands of mirers know her for a beautiful woman, 10 dresses with originality and distinc)n, who is absolute master of her emoms, and can portray the deepest human ssions with an intensity which makes r acting seem like a page of life itself, lose who remember "Trey o' Hearts" low that she possesses personal courage a high degree, for the risks she took in at hair-raising serial entitle her to rank among the dare-devils of the screen. She created a reputation for herself as a director as soon as the first picture with which the Universal entrusted her was released. The artistry of her sets is recognized and in "Her Bitter Cup," one of the first of the Red Feather features, she accomplished results of staging and lighting which set something of a standard for future productions. The public is not so well acquainted with her other self. irdening and the care of chickens. but her friends insist that they alone know the real Cleo. She lives in one of the most charming bungalows in Hollywood with her mother and a little invalid sister, to whom she is devoted and for whom she makes her home as beautiful and attractive as a home can be. She is an ardent gardener, partly for the pleasure it gives her to make two blades of grass grow where one grew before and partly for the added interest which her flowers bring to the shut-in life of her little companion. The first days of spring find Cleo Madison, the homemaker, in her garden, planning new decorations for the flower beds and watching for the re-appearance of her bulbs. She has a famous Dutch garden, which contains some of the finest specimens of bulbs to be found in this country, which were sent to Miss Madison by some of her admirers in Holland, the land of the tulip. Her gardening over for the day. Miss Madison visits her chicken farm, for she is a poultry expert as well. Some one presented her with a queer gift one day — five white hens. They seemed so much at home in their new surroundings, and Helen, the little sister, derived so much pleasure from watching them, that the actress decided to keep them and order a dozen more. With her usual thoroughness, she read up on the subject and found out just what chickens need in order to keep them happy and contented and insure a plentiful supply of eggs, and she was so pleased with her results that she declares her intention of going in seriously, some day, for poultry farming on a large scale. Another of Miss Madison's accomplishments, when she is under the influence of her domestic personality, is cooking. She is a famous cuisiniere and she enjoys nothing more than donning a big apron and setting to work to cook a real old-fashioned chicken dinner. Can you imagine the tearful heroine of "A Soul Enslaved" preparing a fowl for the oven, or the temperamental Rethna of "Her Bitter Cup" concocting a plate of biscuits that simply melt in your mouth ? Miss Madison in the character ef a Swedish girl in "Tillie, the Little Swede," almost the last single reeler in which she will be seen. Do you think that La Tosca knew very much about cocoanut icing ? But, on the other hand, cooking seems just as uncongenial to a woman who has fought for her life on the edge of a cliff, who has climbed down between two freight cars and uncoupled them while the train was going at full speed, or performed any of the other little stunts which Cleo Madison undertook as all in the day's work during the filming of the serial. Just the other day, in one of her own pictures called "The Crimson Trail," she was dragged at the tail of a wagon along a dusty road. But she performs all these things while the professional Cleo is holding sway, for the domestic Cleo confessed with frankness in an interview the other day that she is not very happy on the top of the kitchen ladder. The connecting link between the two Cleos seems to be a love of artistic clothes. This characteristic persists no (Continued on Page 34.)