Paramount Press Books (1917)

! MARGUERITE CLARK, “SWEETEST GIRL OF THE SCREEN,” IN NEW PICTURE In “Rich Man, Poor Man,” Paramount Star Has P an Exceptional Role and Is Finely Supported : Known to her thousands of admirers as ‘‘the __ sweetest girl in motion pictures,’’ Marguerite Clark has a nation-wide following. In her latest ie Bs Paramount picture, “Rich Man, Poor Man,” based upon the novel by Maximilian Foster, and Bs directed by J. Searle Dawley, she has a captivat_ ing role that will prove a powerful magnet to the 4 motion picture theatregoers of the country. In this excellent photoplay, which was adapted for the screen by George Broadhurst, the playBent Miss Clark will be seen as an orphan gir! ‘ in a boarding house who, innocent of the falsity of her position, is accepted as the grandchild of e Wall Street financier, as the result of the ey of a man who desires to make her happy. _ She brings sunshine into the life of the crabbed F old millionaire who, even when he discovers the _imposture practiced upon him, refuses to allow her to leave his fireside. It chances that Betty loves a young man who Eis in fact, the grandson of the capitalist, so that all ends happily after all. Miss Clark is supr ported by excellent players, chief among whom is F rederick Warde, the well-known tragedian, _ who essays the role of the cold, selfish millionaire and who learns at length that the rich man who does not love and who is unloved, is at » _best, the poorest man on earth. The photo play, which is to be presented At thet ens oe Smieatre next 2. .t......... , is filled with numerous thrilling incidents, and the climaxes dramatic. ress” tories to ibe font to the Newspapers Daily for One Week Prior aca To the display of “Rich Man, Poor Man.” “VANITY OF RICHES IS THE DOMINANT NOTE OF “RICH MAN, POOR MAN” Dainty Marguerite Clark Has Heart-Appealing Role in Splendid Paramount Picture To be Seen Here Next Week The possession of wealth, according to the philosophers, does not bring wealth. Hence it follows that when a rich man loves nobody and | no one loves him, he is the poorest man in the. world. This is the theme that is splendidly le lustrated in Marguerite Clark’s latest Paramount photoplay, “Rich Man, Poor Man,” a story based upon the novel of the same name by Maximilian Foster, and adapted for the screen by George Broadhurst. Few film stars have the personal charm and — magnetism that have made Marguerite Clark “‘the sweetest girl in motion pictures,” as her warm admirers say when speaking of her. In her new-— est vehicle she appears as a girl who is reared in a boarding house where she meets and loves a young man. Through a forgery of which she is ignorant, committed by a man who seeks solely to promote her happiness, she is accepted by a crusty — old financier as his grandchild, his daughter's daughter, whom he has disowned for marrying against his wish. | It develops that the man Betty loves is, in fact, — the grandson of the millionaire, but when the im-— posture is revealed, the old man refuses to give her up, because by doing so, he will forever banish the sunlight she has brought into his sordid — and cold life. The ultimate climax is reached © by means of a series of unusually effective scenes, all of the most gripping character. ; “Rich Man, Poor Man,” which is to be dieu nlayedzat they. uo ew ata eure Theatre, next See ue taka: , is one of the best pictures in which Miss Clark ever has appeared and she is capably supported, chief among her players being Frederick Warde, the tragedian, who portrays the role of the aged financier. A