Moving Picture World (Sep 1916)

September 16, 1916 THE MOVING P1CTUKK WORLD 1855 SECOND "FANTOMAS" IS "THE MAN IN BLACK." The second release In the Caaclnat una srli called "The Man In Black." [1 will be released bj Mutual September 14, aa these three-roil episodes reach the ncroen at weekly Intervale The man in black le ■ myeterloue law breaker who is in a deeperate conflict with Juve The man m Mark, who la iii reality ETantomaa, haa alllee everywhere and ins resourcefulneaa is infinite. One Instance of it la when be is trapped In a restaurant K.a he leaves the restaurant In oharaje of Juve and Fandor, the deteotlve'a nev Scene from "The Man in Black" (Gaumont). ant, he breaks away from his pursuers. They find to their chagrin that they have been holding rubber forms in the shnpe of arms while the criminal has had his 'own arms held tightly against his body. Another feature in this release is the collision between a ear running' wild and the celebrated Simplon express. The most remarkable scene, however, shows the "dumb executioner" sent by Fantomas to kill the detective. This is a huge python that siezes the inexorable pursuer of Fantomas in its great coils. How the detective foils this scheme to do away with him is one of the most spectacular scenes of this episode. There is not a nerve that does not labor under the thrill. In reviewing this episode, W. Stephen Bush, the noted reviewer said: "The acting of the principal characters is beyond all praise. The minor parts are rendered with every possible skill. There is throughout the painstaking attention to detail that characterizes most Gaumont productions. The settings are excellent; the photography is unexceptionable. . This feature promises to achieve great popularity with exhibitors." PETERS FAVORS TRUTHFUL STATEMENTS. Speaking of the results thus far obtained through the advertising announcements of the Florida Feature Film Company, Thomas J. Peters, who is personally supervising the production of all the company's five-reel features, says: During the two weeks that the pictures of our company have been offeied to the trade, through the advertising columns of the trade papers, two things have been proved to my complete satisfaction: One is that there is a good market for businessproducing and money-making features, and the other is that 'truthful' advertising pays, "The Florida Feature Film Company will continue to make plain and unadulterated statements of fact, and if those statements make an appeal to the buyer, if w-hat we say we have is what he wants, we intend he shall come to know that he can buy on our given word. Such a reputation is worth thousands of dollars to any business concern, and we are going to gain the confidence of the trade to the extent that our reputation will be a real asset. "All the buyers who have called for screen examinations of 'The Human Orchid,' our first production, in response to our advertisements, were not disappointed by seeing a feature that did not live up to what we claimed for it, and in consequence they are now more willing to take our wrord on future productions." "IRON CLAW" MAKES PATHE RECORD. The total collections on Pathe's serial "The Iron Claw," produced by Edward Jose from the scenario by George B Seitz, have already exceeded those on "The Exploits of Elaine" which up to this time held the serial record. This statement is of interest in view of the announcement that Pathe will release the Astra Film Corporation's production of Mr. Seitz, "The Shielding Shadow," on October 1, with full confidence that it in turn will prove of even greater drawing power than "The Iron Claw." "THE SOCIAL BUCCANEER" (Universal). .1 \\ ,n i in i . ppi ,, in oaneer," .> n > u lent el 'ii una produoad i the story bj I'ncieiie s. isiiam, which *raa ac< ted by Kid gVyton Loul ..i t ,,r m, k. ■ I lo i with I I. ii ii I | un usual .i blllty, a nd b) i 'i a nk Tol work at LTnlvereal Cll has attracted much attention. The oaat a lao i n< ludei B Robblna and Maud ■ w.ni. a Kerrigan playa the role of "The Social Buccaneer" who rohs the rich in order to en. low a hospital The buccal ins some exoltlng adventurea In the in out, on shipboard and in San ETranolaoo, where he poses an a gentleman of leisure. Direotor Conway has Introdui old Chinese and Japanese furniture into his settings and has added materially to the strength of hit story by using two Oriental actora who able to give him some valuable pointers In hiu Chi' and Japa n nee. TOM MOORE SECURES "WAR'S WOMEN." Tom Moore, of vVaahington, D. < ra nd theater for an Indefinite run. commencing the week ol i. oilier 17. Thomaa luce's "War's Women,'' a most powi and masterlj treatment of the theme. The picture wao shown at the National I'ress Club recently before a record and Interested aSSembl] Ol newspaper men, every One ol whom stayed to the end. No picture shown to this critical membership this on has met with similar approval and favorable comment. The board of governors, through Jessie S. Cottrell, has con I its written approval and interest in the film to Samuel Cummins, of 147<; Broadway, New Fork, who controls the pict lire. Mr. Cummins has purchased the state rights to "War's Women" for Washington, Maryland, Delaware, Virginia, West Virginia and North Carolina. His policy will be to play first-class theaters throughout the territory, and he is now preparing an elaborate advertising and publicity campaign. Mr. Cummins will open a special office in Washington for this picture. "THE CHALICE OF SORROW" (Bluebird). In the belief that the mission of a "program" is to diversify the subjects in an appeal to all preferences for amusement. Bluebird turns from its strictly dramatic trend for its Oct. 9 release. Where matters have proceeded with placid society plays, and scenic productions of an unusual nature, "The Chalice of Sorrow" will leaven the series with gripping tragedy. The basic theme of this Bluebird has been applied frequently to both the speaking stage and grand opera, but Rex Ingram, who provided the scenario and directed the production of "The Chalice of Sorrow," has given the bent of tragedy a new twist, and has evolved what is practically an original scenario. Cleo Madison makes her first appearance as a Bluebird principal in this release, assuming the role of an opera singer who makes a public conquest in Mexico, and garners a harvest of sorrow through her popularity. Charles Cummings and Wedgewood Nowell each have roles of supreme importance to the plot, and evidence the ability to do full justice to their opportunity. In the other characters John McDermott, Blanch White, Howard Crampton, Rhea Haines, and Albert McQuarrie have been happily cast. Carrying the locale of the tragedy into Mexico, just at this Scene from "The Chalice of Sorrow" (Bluebird). time, is a particularly good stroke of showmanship, and the exhibitor will reap an added revenue from the trend of public sentiment in these turbid times when the border holds general attention throughout every community. The publicity department of Bluebird realizes that noteworthy subjects are not as common in photoplaying as everybody concerned might wish, but declares that in "The Chalice of Sorrow" a really exceptional Bluebird is at hand.