Moving Picture World (May-Jun 1925)

796 MOVING PICTURE WORLD June 13, 1925 Miss Wiley Thrills New York with Traffic Dodging Stunts WANDA WILEY, popular star in Century Comedies, came to New York City last week on her first trip east, to be thrilled by sights of the great metropolis. Instead, she gave New York one of the best thrills it has had in many moons, by a publicity for a local charity. She risked her life in the crowded traffic lanes of Times Square and Fifth Avenue, while thousands watched, in order to help the publicity campaign for the Free Milk Fund Benefit Bouts, New York’s great charity fight of the year, which the International News Reel Corporation filmed for special distribution in New York State. Miss Wiley’s breath-taking stunts for the Milk Fund came about as the result of a dare. On her first day in the city she recklessly darted through the moving traffic on Broadway, and upon being cautioned, announced her lack of fear of moving automobiles despite her recent sojourn in a Los Angeles hospital as the result of an automobile accident. She was dared to stage a traffic dodging demonstration. She accepted and it was decided to work the stunt for the benefit of the Milk Fund Bouts, then several days away. Permission for the demonstration was obtained from the municipal authorities, who were only too willing to co-operate in a Safety First demonstration for crowded traffic intersections. It was planned to work the stunts to show how surely a person courts death or accident by dodging through traffic. Patrolman George A. Reynolds, of Traffic Squad “B,” was assigned by Police Headquarters to assist in the demonstration. His part was to save Miss Wiley from speeding automobiles when she became trapped in the traffic. The Safety First and Milk Fund tie-up was by means of banners placed on the car in which Miss Wiley moved from point to point to stage her demonstration. The demonstration was staged three times in the Times Square district and twice on Fifth Avenue, at the busiest corner in the world, Forty-second street and Fifth avenue, and at one of the busiest hours of the afternoon. In each place the demonstration lasted from fifteen to twenty minutes and drew enormous crowds. Miss Wiley entered into the spirit of the thing wholeheartedly and made her traffic dodging as life-like as possible and with the maximum of thrills. Taking her stand in the center of the street intersection, she would wait until traffic was flowing by her at a rapid rate and then would dart as if to dodge through the stream of cars to gain the street. Directly in the path of the speeding auto she would hesitate, appear to be confused,, teeter on one foot, scramble around and finally dodge back in the nick of time. Patrolman Reynolds entered into the game like a veteran, dashing to her assistance and drag her to safety. Miss Wiley afterwards stated that she would have been hit many times but for the quickness of the New York patrolman, and that she soon found she could rely upon him to jerk her back from beneath the wheels of the on-rushing cars. Very few of the motorists appreciated the stunt until after they saw the grinning screen star as they missed her by inches and slowed up with grinding brakes. Several times she was trapped in extratricky traffic pockets, and escaped only by her quick wit and nimble feet. One, at the Fifth avenue and Forty-second street crossing, she actually lost her balance in the path of a Fifth avenue bus, bearing down with its heavy load and unable to stop suddenly. Reynolds and two other traffic officers dashed towards her. The crowd which lined the sidewalks groaned. Luck was with her — and so was Reynolds. He lifted her to safety by the coat collar. The traffic dodging demonstration was arranged and directed by Henry Clay Bate, assistant director of publicity for Universal. It was one of the best of recent times in New York. New Exploitation Reel Weiss Brothers Offer Novel Publicity Free To Exhibitors. Louis Weiss, managing director of Weiss Brothers’ Artclass Pictures Corp., will offer some novel publicity and sales reels to be a part of the exhibition’s contract to play the three series of five-reel western features starring Buddy Roosevelt, Buffalo Bill, Jr., and Wally Wales, respectively. A special exploitation reel will accompany each series of eight pictures. It will be made by the star featured and will consist of 350 feet of film as a minimum. This length will be devoted to the display of a wide variety of roping, saddling and riding stunts as done by the various stars. It will explain in detail how to make a cinch knot, how to swing a lariat and rope a steer, how to saddle a horse in a few seconds. It might well be called a rodeo reel. This special reel is in no way to be confused with the trailer made on each of the Artclass releases, but is solely designed as being of interest to the public and by such stirring of interest to draw the public to see the picture which will appear at the theatre a week or so after the stunt reel. It will be free to the exhibitors. Burton Signed by De Mille Clarence Burton, one of filmdoms most adaptable villains, is the latest to join the Cecil B. De Mille forces. Mr. Burton has signed a long term contract to play for the independent producer. His first role will be an important part in Rod LaRocque’s starr'ng vehicle “The Coming of Amos.” In Leading Role Anna Q. Nilsson will have the leading feminine role in the June Mathis production of the “Viennese Medley,” now in preparation at United Studios. Kurt Rehfeld will direct the picture and work will begin soon. The role that Miss Nilsson will portray is one that ideally fits her personality and is said to be one of the biggest roles this featured First National player has had for some time. To Begin on “Sea Woman” Edwin Carewe is scheduled to begin photography on “The Sea Woman,” soon with Blanche Sweet playing in the lead. Other members of the cast thus far selected are Victor McLaglen, Constance Bennett, Robert Frazer, Victor Potel and Monty Collins. The continuity is being prepared by Lois Zellner. “The Sea Woman” is from the play by Williard Robinson which Margaret Anglin presented a season or two ago with marked success. To Direct “Joseph Greer” George Archainbaud has affixed his signature to a contract with First National Productions whereby he will direct for that company the story, “Joseph Greer and His Daughter,” adapted by June Mathis from the novel by Henry Kitchell Webster. Production on this story will be rushed at United Studios. Pick New Title “Fighting Fate” has been decided upon as the title of the next of the Fast Action Series released by Rayart and starring Billy Sullivan. The first two releases are “The Fear Fighter” and “The Goat Getter.” All are for release. WANDA WILEY DODGES NEW YORK TRAFFIC Century Comedy star stages thrilling demonstration at congested street crossings