The Moving picture world (May 1920-June 1920)

1212 THE MOVING PICTURE WORLD May 29, 1920 First Three National Picture Theatres Productions Prove Strong Attractions SINCE the inception of National Picture Theatres, Inc., and its initial release, "Just A Wife," adapted from the play by Eugene Walter, there has followed in the wake of its appearance in motion picture theatres throughout the country a wave of approval that has struck the pinnacle of faith in the amicable combination of exhibitor-producer, according to Lewis J. Selznick, president of National Pictures. This approval has been doubly attested by exhibitors in "Blind Youth," the second National Pictures release on March 15, and "The Invisible Divorce," released on April 15. With three big productions backed by exhibitor and public approval, and which gives the exhibitor a voice in selecting the picture which was to be made before actual production was started, it is declared that in this joint combination nothing but high quality commercial pictures must naturally follow. Pictures With Commercial Value. "National Pictures aim at perfection in the true sense of the word," said Mr. Selznick. "Perfection in production and perfection for the box office. If we give our franchise holders throughout the country precisely what they say they want, and this want is revealed by the box office receipts, it follows that we are giving them high quality pictures with commercial value. "Just A Wife" tells the story of a man who married merely to secure a woman of social standing. The cast contains the names of Roy Sewart, who plays the leading male role, Leatrice Joy, the leading woman, Kathlyn Williams, Albert Van and William Leon West. Howard Hickman directed, and Katherine Reed adapted the story for the screen. "Blind Youth" from Stage Play. "Blind Youth," the second National Theatre oflering, released on March IS, is a screen version of the Broadway stage success of the same name by Lou Tellegan and Willard Mack, both authors of renown. It tells the story of an artist's adventures in New York and Paris. Included in the cast are Walter McGrail, Leatrice Joy, Ora Carewe, Clara Horton, Colin Kennedy, Joseph Swickford, Buddy Post, Claire McDowell, Leo White and Helen Howard. The production was directed by Ted Sloman, and picturized by Katherine Reed. "The Invisible Divorce," the third production released on April IS, from the pen of Leila Burton Wells, gives a new angle of the ever present divorce question. In the cast are included the names of Walter McGrail, Leatrice Joy, Walter Miller, Grace Darmond and others. Betty Bouton in New York Betty Bouton, leading woman in Marshall Neilan's newest filin comedy, "Don't Ever Marry," has arrived in New York from California. Shortly after finishing work in "Don't Ever Marry," Miss Bouton became Mrs. Arthur Jackson. This is contrary to the action on the part of the young woman who recently, after viewing the picture, wrote Mr. Neilan that after three years of indecision she had come to the conclusion marriage is not as bright as it appears to be. Miss Bourton is a New Yorker and this is her first visit here in several years. Confidence in Producer Essential to Development oj Industry, Says Woody As nearly everybody knows who ever tried it you can't fill a cup of coffee more than full. That's why civilized society demands a saucer. And in the same way exhibitors are now using saucers in their business since producers began handing out something more than a demi tasse in fair dailing and service along with their pictures." So spoke J. S. Woody, general manager of Realart Pictures Corporation, in commenting on the fact that during the company's Wanda Hawley campaign practically all of the leading exhibitors of the country booked "Miss Hobbs," the new star's first picture, on the strength of Realart's promise of a notable production. Exhibitors' letters to Mr. Woody revealed a new line of confidence between exhibitor and producer. They indicated that where a producer by consistent honest business practices had won the confidence and trust of his customers, the latter were ready to reciprocate. "Exceptional caution was a necessity in the days of uncertain production standards," continued Mr. Woody. "Those days are now, happily, past. Then the exhibitor was forced to protect himself, not only against unscrupulous methods but against ignorance and unstabilizing factors. "Realart was organized to represent new standards and methods. That they are not only good but profitable policy is evidenced by our success in the last six months. In the Wanda Hawley campaign we made a test of this. And we have received a most gratifying answer. "First of all conforming to our established policy, we offered Wanda Hawley's first picture to our old customers without attempting to up competition. Their vote of confidence in Realart has won. "The ofiFer was made on the theory that Realart should take all the risk in introducing the new star. We made no attempt to sew exhibitors up to a long contract. "In any event they have been quite willing to sign for this picture on our unsupported word that it would be a creditable production. The mere request that they do this was a severe test of their faith in Realart. It has proved that if exhibitors can be convinced of the honesty of a producer, they will trust him as they would any other friend." Ore-Col Is Now Producing Will Payne's "Black Sheep" WILL PAYNE'S "Black Sheep," which ran as a serial in a popular weekly magazine and was published in book form under the title of "The Scarred Chin," is being produced as a special feature by the Ore-Col Film Corporation at the Enwood Studio, Denver. It is being given a lavish production. Director John B. O'Brien having engaged a well-balanced cast. Covering an area of 18,000 feet on the studio floor is one set representing two weeks' labor, day and night, it was originated by George G. Grenier, technical director, who made the scenic productions, "Cleopatra" and "The Tale of Two Cities" for William Fox. A. D. Frost, president and general manager, promises details of "Black Sheep" later on. When asked about it recently he did a Joe Cannon with the Havana in his mouth, and merely said: "We are out to make somthing worth while." ,,iiiuiiiiiiii|ijjirrnTTiT as^^^y Would You Call Jack Mulhall a White Hope in the Center Picture? We Hope You Hope He It Not Lots of things to hope for in "The Hope," produced by Metro. Now that we've worn out the word "hope" by using it again we i^ots oi miiiBs lo nop ^.jj ^^^^ ^^^^^ pretty views of the picture speak for themselves.