Moving Picture World (Nov-Dec 1923)

December 1, 1923 MOVING PICTURE WORLD 505 Inspiration in Italy Working on “Romola’ Exhibitors Eager for “Mothers-in-Law” Gasnier’s latest Preferred picture, “Mothers-in-Law,” presented by B. P. Schulberg, has been booked by the following houses : The Grand, Pittsburgh, Pa.; Liberty, Pittsburgh, Pa.; Bethlehem, Lehigh, Pa.; the Orpheum, Springfield, Mo.; Parkway, Baltimore, Md ; Knickerbocker, Nashville, Tenn.; Queen, Austin, Texas; Goddard’s Theatre, Sacramento, Cal.; the T. & D., Stockton, Cal.; Isis, Kokomo, Ind. ; Robbins, Warren, O. ; Opera House, Piqua, 0., and the Majestic, Wyandotte, Mich. “The White Sister,” which is completing the third month of its run on Broadway, will open in San Francisco and Boston on December 3rd. In the meantime, it is playing to capacity houses in Chicago and Philadelphia. The Inspiration overseas company has begun filming “Romola,” adapted from the famous novel by George Eliot. Lillian Gish is playing the title role. Her sister Dorothy also has the important part of Tessa. In the cast also are : William H. Powell, Charles Lane, Herbert Grimwood and several thousand others. “Romola” will be the second production directed by Henry King to be made in Italy. The great marine battle with which the picture concludes has just been filmed in Leghorn and interiors are now being produced in the Inspiration studio in Florence, Italy. “Souvenir” Next Halperin Feature Halperin Productions has sent from the Hollywood studios the complete cast which has been recruited for “Souvenir,” the second Halperin feature for Associated Exhibitors distribution. Agnes Ayres was named to play the lead and Percy Marmont, Kathlyn Williams, George Siegmann, Mary Alden and Robert McKim were also selected. “Souvenir” has C. R. Wallace assisting Victor Hugo Halperin in the direction. Robert Ellis is now designing the sets. “Meanest Man” is Heavily Booked “The Meanest Man in the World,” a current First National picture produced by Principal Pictures Corp., has been booked solidly by the West Coast Theatres for showing through their northern and southern circuits in California. “The Meanest Man in the World” is adapted from the stage success of the same name and its cast includes Blanche Sweet, Bert Lytell and Bryant Washburn. High Praise Given “Columbus” “Such a picture does much more than present history, it raises the standard of all picture production and by the success of its well developed effects advances film art appreciably.” Thus characterized is “Columbus,” the first of Pathe’s “Chronicles of America” series, in the November issue of “The Film Bulletin — a Monthly Guide to the Best Pictures,” which is published by the Film Mutual Benefit Bureau. “Columbus,” says “The Film Bulletin,” must be received “as a herald of perfection.” On Way East Bud Barsky, sales manager for the Sunset Productions, is on his way East with sample prints of the second subject of the Kenneth McDonald comedy stunt drama series, titled “Slow as Lightning,” and the second release of the J. B. Warner Western super-features, titled “Treasure Canyon.” Sunset Productions are producing fourteen pictures this year. “The Eternal City” Has Paterson Premiere “The Eternal City,” independently produced by Samuel Goldwyn for distribution through First National, had its world’s premiere on November 19th at the Regent Theatre in Paterson, N. J. The advance interest in the picture filled the house to overflowing and brought a line more than a block long in front of the theatre box office waiting for the doors to open. Charles Dooley, manager of the Regent, stated after the last show of the opening night that the attendance was the greatest of any opening in the history of the theatre and that the gross admission exceeded anything in Paterson’s film history. George Fitzmaurice, who directed the picture in Rome, Italy, and Mr. Goldwyn were present at the opening to note the reactions of the audience. “The Eternal City” is interpreted by a cast including Bert Lytell, Barbara La Marr, Lionel Barrymore, Richard Bennett and Montague Love. Hart’s Return Rouses Audience’s Enthusiasm That the return of Bill Hart to the screen after an absence of nearly two years is one of the big events of the current season, is being amply demonstrated this week at the New York Rialto where “Wild Bill Hickok,” the first of the famous Western star’s new series of Paramount pictures, is being shown. The star, it is said, seems to be more popular than ever, and his picture, based upon the exploits of a famous character of Western history and written by himself, is declared on all sides to be the very type of photoplay the millions of Hart fans would have chosen as a vehicle to bring their favorite actor back to the screen. In its review of the picture the Evening World said : “If you were numbered among the legion of Hart admirers before he ‘retired,’ then you’ll like him in ‘Wild Bill Hickok.’ We were, and we did.” Said the American : “His admirers — .and the theatre was packed with them — ate up his every movement. It was such a Hart — y audience, and so completely enthralled!” The World: “Probably no one could have brought to the screen a more fascinating picture of ‘Wild Bill Hickok,’ that famed old ramantic frontiersman, than Bill Hart.” “It is the same Bill,” said the Evening Telegram, “the man who plays the rugged Westerner as nobody else can. Hart has been missed from the screen,” said the Telegraph, “and ‘W i 1 d Bill Hickok’ is a fitting and excellent vehicle to bring him back. Welcome back, William S. Hart!” Laemmle Stands to See “Hunchback” at Capital “The Hunchback of Notre Dame” made its National Capital premiere recently before an audience that packed the Shubert Belasco Theatre with several hundred standing and more than 1,000 turned away from the box office. All of the boxes were draped in the colors of the various embassies. Almost the entire diplomatic corps of Washington was in the audience, which also represented nearly everyone in Washington’s blue book. President Carl Laemmle of the Universal Pictures Corporation arrived from New York for the premiere shortly after the opening of the picture and had the unique experience of having to stand while the picture was screened. Every available seat was taken. The box office report shows that the picture broke every existing record for film presentations at the Belasco for the first four performances. Police were required on both Sunday and Monday to regulate the long queues that wended their ways to the ticket windows. AND . 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