Photoplay (Oct 1917 - Mar 1918)

122 Photoplay Magazine — Advertising Section MeeTyour favorite Movie Sfar Take Your Choice M:ike your selection f"ies many as you want and send with your remittance. Our money back guarantee protects you. May Allison Theda Bara Mrs. Vernon Castlo Alice Brady Billic Burke Francis X. Bushman June Caprice Lon Chaney Marguerite Clark Viola Dana Grace Darling Grace Darmond Douglas Fairbanks Franklin Farnum Neva Gerber Myrtle Gonzales Creighlon Hale W. S. Hart Louise Huff Rupert Julian Mollie King Harold Lockwood Louise Lovely Mary McLaren Marie Osborne Virginia Pearson Dorothy Phillips Jack Pickford Mary Pickford Eddie Polo Myrtle Stedman Norma Talmadge Pearl White Clara Kimball Young 600 others that you know. These photo post cards of your movie favorite present such exact likenesses, that to possess them is a good deal like meeting them personally. We were the first to sell by mail postcard photos and photographs of the movie stars and today are the largest direct-to-you distributors. Personal acquaintance with many screen favorites enables us to include exclusive and recent poses at these low prices 18 for 25c 18 for 25c 100 for $1.00 For 25 cents you ___. have eighteen of your own choice or 50 cents for forty or a dollar for a .hundred. 100 for $1 MONEY BACK IF DISSATISFIED SPECIAL Actual photographs in attractive poses. Size 8x10 of all feature Stars, at 50c each. We have many Stars in different views and poses. Get 3 beautiful photos of your favorite. Special at $1 .OH for 3. Send stamp for sample card and our list. Sen! free with all orders. The Film Portrait Co. 127 A First Place BROOKLYN, N.Y. FD C Kl P U MILITARY KtNLM CONVERSATION by the Military Lan^na-o-T'hone Method andDiscRec Ords. A practical, short course lor Alilita*"y Service Also Spanish, 1'rench, Italian. German by the LANGUAGE PHONE METHOD And Rosenthal's Practical Linguistry The HriDg voice uf a Dative professor pronouueea the foreign language, over and over, uotil jou know it. 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The Shadow Stage By Randolph Bartlett (Continued from page 68) A Good Gift Suggestion See Page 124 Life" he leaps from crag to crag of incident with all the nimble certainty of a mountain goat. The important part of the plot is a dream Mr. Walsh has while under the influence of laughing gas in a dentist's chair. He thinks he has gone to South America with a moving picture troupe, which turns out to be a gang of revolutionists, and just as the chief conspirator buries a knife in his throat he wakes to find — that the doctor has just pulled out the tooth. It is real fun, original in device, and lightning-like in movement. Wanda Petit is a new name worth watching. It is the name of the girl for whose sake the youth engages in the adventure of his dream. She is pretty, and shows much camerability. LIFE'S WHIRLPOOL— Metro Given the right sort of a story, Ethel Barrymore is as wholesome as a letter from your sister. There is a profundity about her understanding of the realities of life that sets her apart from almost all other actresses. Not for her the gilded romance, the purely theatrical drama, the artificial structure of mere plot and movement. But let her have the role of a woman who is humanly recognizable as some one you or I might know, and she comes right home to the perceptions. She knows that women who are living through a tragic experience, have their moments of happiness, and can smile gayly, can forget at times the thing that pursues them. She knows that life is not a monotone, but even when its fabric is principally a dull gray, it is shot through with yellow and green and blue threads. So in "Life's Whirlpool," written for her, and directed, by her brother Lionel. It is the story of a young woman who married a man of flint, to discover after the birth of her son that she loved another. The husband discovers part of the truth, and after he denounces her she escapes from their home with her boy. The husband is murdered by a man he has oppressed, the wife is suspected, and later exonerated. There are glaring faults in the story, such as the dragging in of an entirely unnecessary second killing, and a mob scene outside the jail — spurious attempts at exciting action. But Miss Barrymore herself is superb throughout. The entire cast seems inspired. Alan Hale is the young lover, and plays his role well. Frank Leigh does a remarkable bit as the crazed murderer. It is the best Barrymore picture I have yet seen. THE SCARLET PIMPERNEL— Fox As has been remarked elsewhere in this compendium of current flickerature. Fox doesn't give a hang, apparently, what others are doing or are not doing. His latest declaration of independence of current superstition is Dustin Farnum in 'The Scarlet Pimpernel." Anybody can tell you that "the public don't want costume pictures," so Fox turns out a costume picture. It deals with a secret organization formed to assist aristocrats to escape the Reign of Terror in the French Revolution. Mr. Farnum plays the role of the nead of this body, outwardly a fop, really a man of daring and action. His character impersonations, disguised as a peasant woman and later as a patriarchal Hebrew, are the best parts of the picture. Miss Winifred Kingston is a pleasing actress, but won't she please stop painting her pretty mouth into a Cupid's bow? There are several other actresses doing this same thing, and with all the ferocity of our naturally peaceful nature, we hereby declare war upon the hideosity. Next thing, the girls we know will be doing it. MAGDA — Select Pictures Clara Kimball Young is back after many managerial adventures. Her first production under her own management is a version of Sudermann's "Magda." There is little of the original drama in the screening. What was originally a keen satire upon middle class hypocrisy has become the personal drama of a woman who, unfortunate but ambitious, is driven by circumstances from home but achieves great success. Returning home, she is welcomed, and an attempt is made at a belated redemption of the family honor by trying to compel her to marry the man who had caused her troubles. She refuses, and her father dies of heart failure. So the story ends. It is anything but a dramatic finale. The word "Finis" on the sheet is astonishing. But in the picture Miss Young is beautifully dramatic and dramatically beautiful. Few women have her talent for expressing epic scorn. The news is spread that no more will Miss Young portray these unhappy creatures, but in the future will radiate sunlight and cheer. CAMILLE— Fox That immortal concoction of drivelling sentimentality, that deathless joy of easyweeping schoolgirls, that masterpiece of platitude, that — well, in short, ''Camille.'' has been done again for the screen, this time by Theda Bara. There is this to be said for William Fox — he doesn't seem to give a hang who has done, is doing, or proposes to do a story, if he wants to do it himself. Under its own name and various aliases, this tubercular drama has endured upon the stage and the silversheet longer than the memory of this generation can recall. The only interest in it is — does Theda Bara make a better ''Dame aux camellias" than any of the other hundreds of women who have rattled its laryngeal chains? It is a matter of taste. Personally, we prefer it on the screen because we don't have to listen to the coughing. Personally, we prefer the Theda Bara version to many of the older screen recitals because Miss Bara makes Camille the brazen hussy we believe she was. At the outset she is a scheming, unscrupulous, frankly immoral cocotte. and glad of it. and therefore there is less danger of the unthinking shedding crocodile tears over her quite just and logical fate. And the final death Every advertisement ill PnOTOPLAT MAGAZIXE is guaranteed.