Paramount Press Books (1918)

rHADB w PARAMOUNT PRESS BOOK pao« PUBLICITY P R ESS STORIES Pertinent Notes on Ethel Clayton and ^The Girl Who Came Back” ETHEL CLAYTON, STAR A LTHOUGH familiar to screen patrons throughout the country, Ethel Clayton is new to Paramount audiences, but her ability displayed in “The Girl Who Came Back,” her first Paramount starring vehicle, promises to make her a most notable addition to the galaxy of Paramount stars. Miss Clayton was born in Illinois, educated in Chicago and has had a diversified stage and screen experience. She has beauty, a graceful figure, ingenuous sweetness of manner and that charming personality which is so great an asset on the screen. Above these qualifications which, it must be admitted, go far toward success in the silent drama, she has native talents as an actress, not usually found in aspirants for cinema fame. In her initial picture. Miss Clayton portrays the role of the daughter of a thief who reforms through the power of gratitude and love, and its artistic requirements have taxed her genius to the utmost, though with the most pleasing results. That Miss Clayton is a decided acquisition to the Paramount forces is generally admitted and that she will prove a delight to motion picture theatregoers before many of her pictures are released, is a safe prediction. ROBERT G. VIGNOLA, DIRECTOR \X/' IDELY known for his splendid' directorial accomplishments, Robert G. Vignola directed Miss Clayton in her first Paramount picture.. Mr. Vignola directed many of Pauline Frederick’s photoplays and he has accomplished some marvellous results in picture making. As a director, he combines an artistic sense with extent uve technical knowledge and an execution that is ideal. Personally, Mr. Vignola ia a hale-fellow-well-met and he is quite popular with the actors over whom he ‘exercises his authority with discretion and good taste, THE SCENARIST EULAH MARIE DIX, who adapted. “T'lie Girl Who Came Back” from the play “Leah Kleschna,” is a prolific and accomplished photoplaywrighs: with numerous picture successes to her credit. She wrote the scenario of Hidden Pearls,” one of Sessue Hayakawa’s recent successes, and “The Ghost House” in which Jack Pickford and Louise Huff made a big hit. Both photoplays received unstinted praise, but it is said that her skill and genius are better disjolayed in TABLE OF CONTENTS Front Cover — Billing Inside Front Cover — Production Cuts and Mats. Page Editorial and Contents 1 Special Feature Story .... 3 Cast and Story .... 6 Press Review .... 7 Advertising Cuts 9-10-11 Advance Press Stories . .13-16 Accessories ....17 Mail Campaign Inside Back Cover — Paper and Slides Back Cover — Latest Releases. . .18-19 “The Girl Who Came Back” than in any of her recent picture subjects. c. M. s. McClellan, author '^HE late C. M. S. McClellan, author of “Leah Kleschna,” the famous play which has been picturized for Paramount, was until his death nearly two years ago, one of the foremost playwrights in the country. He was author of “The Belle of New York,” ‘‘The Pink Lady” and other musical comedies for which he wrote the librettos. His play “Leah Kleschna,” was produced at the Manhattan Theatre, New York, in 1905 and scored a decided success, Mrs. Fiske appearing in the title role. A DRAMATIC STORY OIS HARTNER, the daughter B T ^ ' of a thief, and herself a “salamander” employed by her father in his burglarious operations, is saved from death by drowning in a shipwreck by George Bayard, a State Senator and social reformer, of whose identity she is ignorant, but whom she loves secretly. Her father plans to rob Bayard’s home, where jewels of great value are stored, and Lois is charged with the duty of obtaining working data regarding the gems from Ralph Burton, the scapegrace son of Governor Burton whose sister Dorothy, is to become Bayard’s bride. Unware that Bayard is the man she loves because he saved her life, Lois goes reluctantly to the Bayard home with her father and a confederate. While she is opening the safe where the diamonds are concealed, Bayard surprises her. She instantly recognizes him as the preserver of her life and when he talks gently to her, her dormant sense of good is awakened and she resolves to reform. The diamonds are stolen by Ralph Burton and suspicion rests upon Lois for a time. Dorothy bebecomes jealous of Lois and breaks off her engagement to Bayard. Determined to quit her father and the life she is leading, Lois goes to tell her father goodby when Ralph insists that she is to go with him. She escapes by means of a fire escape and goes West where she finds employment on a farm. Bayard ultimately learns of her whereabouts from Lois’ former confederate, rejoins her and makes her his wife. The photoplay is filled with dramatic situations which hold the attention as by a spell to the final scene, and should prove a great attraction. I