Paramount and Artcraft Press Books (1918)

ADVANCE PRESS STORIES To Be Sent to the Newspapers Prior to and During the Display of William S. HarPs Latest Photoplay, “Branding Broadway.” An Artcraft Picture. WHAT CHANCE HAD BOB SANDS WHEN MARY LEE SMILED? Splendid New Role for W. S. Hart in His Big Photoplay “Branding Broadway.” OB SANDS, recently from Arizona— Whetstone is the town — came to new York recently to take a job that is unique — the taming of a young highflyer— Larry Harrington, son of the well-known railroad magnate. Larry had got into some sort of tangle over letters written to a pretty waitress, but Bob found she was all to the good and that the young waster hadn’t a chance with her. And so he promptly fell in love with her himself and was as helpless as a tenderfoot when she looked at him. So he shifted his allegiance to the lady’s side and Harrington, Sr., hired a detective to get the “papers.” He got them, but Bob followed on a borrowed horse and recovered the documents. It was some chase, they say — as wild as that of Tam O’Shanter from thg witches. And now Bob and the Lady Mary are going back, back, back to Whetstone — to grind out their future beneath the stars of the big Southwest. The whole story may be found at the Theatre, where William S. Hart’s latest Artcraft picture will be exhibited next It is called “Branding Broadway” and it is the newest idea in the films that has happened along in some time — also, it is decidedly different from the Hart pictures we have seen in the past. Full of comedy, excitement and thrill but minus tears — it is real entertainment for the million. Dainty Seena Owen is Mr. Hart’s leading woman, and others in the support are Arthur Shirley, Lewis W. Short and Andrew Robeson. ARIZONA COWBOY BRANDS BROADWAY IN WESTERN STYLE “Big BiU” Hart Does Exciting Stunts in “Branding Broadway.” Bob sands is a puncher from the Southwest. He got into Manhattan a few days ago and was employed by Mr. Harrington, the millionaire railroad man, to undertake to tame young Larry Harrington, his son. The brightly lighted districts of the metropolis have known Larry for some time past as a spender who has no regard for his father’s millions, and who can fight like a demon. But Bob started in by licking his charge and then tried to help him collect some letters foolishly written to a pretty little waitress. But Bob fell for the lady himself and then Harrington, Sr., called in a private detective to get the evidence. The latter got away with the papers, but Bob borrowed a mounted policeman’s horse and followed the fleeing taxicab. Overtaking it, he got the letters and returned with the young millionaire to the girl. Then he learned that she didn’t care a bit for Larry, but was strong for himself. Now they are going back to Arizona, where Bob says he has room to yell when he wants to and where there is space to ride without bumping into cars and policemen every ten feet. Above is the outline of William S. Hart’s new Artcraft picture, “Branding Broadway,” which will be presented at the Theatre next C. Gardner Sullivan wrote it and Hart did the directing. They say it is a different Hart picture — and the public will agree when they see it. Seena Owen is Mr. Hart’s leading woman in this production. GEE WHIZ! “BIG BILL” HART IN DRESS SUIT! PREFERS OVERALLS. Artcraft Star’s New Photoplay, “Branding Broadway” Is Notable Picture They put “Big Bill” Hart in a dress suit at the studio where he was engaged on his new Artcraft picture, “Branding Broadway,” and thereby rendered him as uncomfortable as a man can be under ordinary conditions. “It made me downright unhappy,” confided the Thomas H. Ince star to one of his associates, “to be rigged out in one of these boiled shirt outfits. The collar binds like a bridle bit on a mustang, and I feel as awkward as a cayuse in harness for the first time. Of course, if art demands that I wear the thing. I’m game, but give me a soft shirt, a pair of overalls and chaps and I’m contented as a Comanche with a bottle of snake-bite.” “BiU” looks well enough in his rig, but he is manifestly uncomfortable. To make the slight concession to his Western temperament, he wore his Stetson sombrero when he wasn’t working and the combination was decidedly incongruous. Mr. Hart has accomplished wonders with the picture, which has much of its action in little old New York. It will be shown at the Theatre next Seena Owen, Mr. Hart’s leading woman in the new photoplay, had to acquire the difficult art of flipping pancakes in order to appear to the manor born in a restaurant scene. “Just the same,” declared Miss Owen, “my appetite for flapjacks is destroyed. I never want to look another one in the face.” Tom Brierly, Art Director at the studio, had to rack his brains to find a way of clearing the stage for a set representing a fashionable New York cabaret, which required all the floor space. But he did it. The set is said to be great, as are all of the scenes in this unusual photoplay. 13