Moving Picture World (Mar-Dec 1907)

THE MOVING PICTURE WORLD. Let Us Demonstrate The Superiority of Our Film Service At Our Expense Write Today for Our Proposition. RELIANCE FILM RENTAL CO. Room 354. 85 DEARBORN ST., CHICAGO. We Are Specialists' in The Optical Projection Line and confine ourselves exclusively to Film * Song Slide Rental We are not hampered by the endless amount of detail that is experienced by others who sell machines, outfits, supplies, etc., operate vaudeville and five cent theatres and do a little of everything else connected with the line. That’s only one reason why we can furnish such Class Service We are pioneers in the business and have in service from one to several of every desirable subject in both Films and Song Slides that have’ been produced, and yet, without the use of either large advertising space or circus talk, we have most of the time had all the customers we could supply and sometimes have many on our waiting list. The quality of our service does our advertising. We are increasing our facilities and We Want Your Patronage If you need a machine we can tell you where to get the right one at the right price, but, we want to furnish your films and slides. You prefer a specialist in medicine or in law, so let us show you what a specialist can do for the bank account of a five cent theatre. Write at once for our Special Offer. THEATRE FILM SERVICE COMPANY Room 128, 85 Dearborn St., Chicago his meal in a squalidly furnished garret apartment, is unceremoniously bundled up with organ and umbrella and is sent out by his athletic wife. Walking down the street, he comes to the tavern, handing his means of a livelihood to the tavern keeper, sits down comfortably at one of the tables and is served with a drink. Presently a friend appears, whom he hails, and the two step into the interior of the building, leaving the umbrella outside. As soon as the owner is out of sight the umbrella opens up and flies away. Then follow a series of comical adventures in which the umbrella acts in the leading role. The organ grinder, returning to his table, misses his umbrella and goes off in search of it. Meeting a woman with a basket on her arm he accosts her to make inquiries about his loss. While the two are conversing the umbrella comes to earth and attaches to itself some of the contents of her basket, after which act it flies away. Missing her property, she accuses the poor man with both mouth and fists. Making his escape, he comes to a theater, before which he stops to read the attractions. His umbrella in the air follows him, swoops down on the billboard from which it attaches itself to a theatrical poster. Our poor man now meets a nursemaid and baby. Stopping to converse with the maid, the umbrella alights on the baby carriage, from which it extracts the baby and flies away. The maid, discovering the loss of her charge, accuses him of the theft, upon which scene an officer appears and leads both to headquarters. There, while being examined, the umbrella, trailing the baby and miscellaneous plunder, is seen flying past the window — this being circumstantial evidence of his innocence, he is freed. He now makes his way to the tavern. There he redeems his grinder and goes home. Arriving there he finds that his umbrella with its loot has preceded him. The poor man is given a warm reception by his wife, first for coming home penniless, and secondly for going out of his way, as the tell-tale umbrella gave him away. The series of views closes with a shout, showing the poor man receiving his desserts at the. hands of his athletic wife, and the umbrella looking down from its hanging place on the wall, mysteriously opens up and changes its surface to a grinning and grimacing moon face. A rollicking, riotous, rural rackt is what the Biograph call their latest film, “Under the Old Apple Tree.” The tree has ever been a salient figure in this planet’s affairs, as the history of the world began in the shade of the “Old Apple Tree” in the Garden of Eden. Later there was the “Charter Oak,” the “Cherry Tree” which was felled by the swoop of George’s little hatchet, and the “Family T ree” that we so dearly love to climb. Hence the Biograph has taken the apple tree as the columella of its latest film story, and it has certainly borne fruit, for this tree appears to be as cabalistic as the haunted olive tree, under which Bocaccio met the fair Fiametta. Old farmer Brown is a widower with two children — a pretty daughter and a hobbledehoy of a boy. The daughter has a sweetheart, who is every inch a sailor — we know he is a sailor, “for he wears a sailor hat.” Papa objects to the foreign invasion, and as he leaves for a visit to