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February , 192 1
49
The New York Idea
{Continued from page 36)
"You might have spared me finding you here," she went on. If there's to be no more marriage in the world . . . ."
"Oh, but that's not it," he told her. "There's to be more and more and more."
She was angry. She wanted to cut him.
But he smiled and said: "I know your real motive for coming here this morning."
"I've told you."
"No."
"Oh, you think there's something else?"
"I do. You've decided that ours was a case of premature divorce, and you're still in love with me."
She flared up. "I've never heard of such conceit."
"But it's true," he insisted.
"I did have another reason," she conceded.
"I wanted to test myself .... to see if I'm thoroughly immune. It's all right. You're not catching any more. I'm going to have you up to dinner .... often."
John scowled. He was losing. "Ask me if you dare."
"I'm going to do better than that, Jack. I want you to be my best man at my wedding this afternoon. We must show New York that we know how to do this thing right."
She listened to Darby tell her that she was marrying the wrong man, that she should marry him. John had left to meet Vida and Cynthia listened patiently. She did not know that Judge Phillimore was hunting all over the city for her, nor that he had arrived at Vida's home and had been told that neither Vida nor Cynthia were present. She only knew that she wished to postpone her wedding and she gladly accepted the Englishman's invitation to attend the races with him. She scribbled a wire to her fiance:
"Off to the races with Bates-Darby. Postpone ceremony until seven-thirty."
Darby proudly read the wire aloud, not knowing that John had returned to the room and had overheard him.
"You can't go out there with him, Cynthia," John remonstrated.
"I say," Darby replied. "Is it the custom for a husband that was to dictate?"
"Oh, you're absurd, John," she told him. "Since you're looking after my interests, give that to the Judge and be sure to turn up for the wedding."
So Cynthia, happy in being able to escape for a few more hours, hurried off with Lord Darby, while John called up the Judge on the 'phone. The latter hastened from his house and motored to the races. But he could not find Cynthia. Late in the afternoon, when the Judge's sisters were about to give up in despair and the choir boys and minister were bored to death, a message arrived:
"Auto accident. Home by nine forty-five. Hold the church. Cynthia."
Shortly afterward another messenger appeared.
"I arrive at ten o'clock. Have dinner ready. Philip Phillimore."
Cynthia arrived first. She was in high spirits.
"Good heavens," she laughed as she saw the party drooping about the house. "Why it looks like a smart funeral!"
"Madame," one of the Misses Phillimore replied, "it is our opinion that you are leading a fast life."
"Not in this house," Cynthia said sweetly.
At last the Judge arrived. Telling his sisters that he wished to be alone with his future wife, he sought Cynthia. She smiled at him.
"Philip, you never felt like a fool, did you?" she almost giggled.
"I never did," he said severely.
"You still intend to marry me?" she asked, puzzled.
"I do."
Cynthia was discouraged. Her escapades
had been without effect. She went off, leaving the Judge to dress for the ceremony.
But when the ceremony was started, when Cynthia stood before the minister with the Judge at her side, when she saw John standing near her, looking miserable, realizing that another fatal error was to be committed, she could not go on with it.
"Philip," she said, "I can't. I can't. I can't marry you." She turned and ran from the room. The others followed. She repulsed the Judge, she ordered him to leave her. Only to John would she speak.
"You must hate me," she whispered to him.
"No I don't, Cynthia. At home everything is as it was the day you left. >I have always hoped you would come back and undo that moment for us both. Cyn, I love you ! You can break every chair in the house, if you'll only come back to me."
And she did.
Vidor Rex Videt
{Continued from page 13)
without preaching, in other words screen stories with an underlying helpful philosophy that will be perceived through inference, suggestion, atmosphere and other forms of psychological treatment. I shall never produce a photo-play without a moral, and I am not^ concerned chiefly with tears and laughter invoked while any of my photo-dramas are screening, but am deeply concerned with their effect upon the lives of their audiences. Let people forget the plot, the incidents, the sub-titles, the photography, and the various mechanical attributes of the picture, but let them take home 'the spirit of the picture,' and I will feel that my duty has been accomplished."
I asked him why he laid so much stress on duty.
"Why lay stress on duty? Because I believe a sense of duty promotes tht sense of harmony. As a mild student of economics and sociology, I am convinced that the big error of the age is the blatant cry about 'rights.' We hear of labor's rights and capital's rights and woman's rights and a countless caravan of rights parading across a desert that has no boundaries. Some day the order of the age will be reversed and we will have a civilization founded on 'duties' rather than 'rights!' When we are all interested in seeing that our various duties are performed well and nobly we shall find that our rights are automatically taken care of. In my opinion, we must earn our rights."
I looked at him in wonderment. This fine looking young fellow, just in the springtime of life, when most of us are worrying about not having as much of the world's goods as our next door neighbor, hewing to his highest convictions, is unyielding, uncompromising.
"Nearly two thousand years ago," he continued, "three words were uttered that contain all the rest of human knowledge past, present, and future ; written and unwritten, spoken and unspoken; yes, even dreamed. Those words are 'love one another,' and it is the lesson of 'love one another' that shall be silently impressed in the Vidor cinemas of this year and next year . . . and all years.
"It is because I am heart and soul in love with what the motion picture symbolizes, 'the language of understanding,' and because I have boundless faith in the motion picture's future that I am determined to do my humble 'bit' toward making it a silent servant of humanity, whose farthest goal is the brotherhood of man."
Then we talked about his wife, Florence Vidor, who is being co-starred with House Peters in a Thomas H. Ince play, "The Magic Life," and about baby Suzanna, who recently celebrated her second birthday and who so far is totally unconcerned with motion pictures, far preferring "pantomimes" starring a group of her favorite dolls, teddy bears, "kewpies" and "kiddie kars," according to her proud paternal parent.
Producers Directory
For those who wish to Tcnow the names and addresses of producers, we list the following :
Studios are indicated (s).
AMERICAN FILM MFG. CO., Santa Barbara, Calif, (s).
BLACKTON PRODUCTIONS, INC., 25 W. 45th St., New York City; 423 Classon Ave., Brooklyn, N. T. (s).
ROBERT BRUNTON STUDIOS, 5341 Melrose Ave., Los Angeles, Calif.
CHARLES CHAPLIN STUDIOS, La Brea and De Longpre Aves., Hollywood, Calif.
CHARLES RAT STUDIOS, 1425 Fleming St, Hollywood, Calif.
CHRISTIE FILM CORP., Sunset Blvd. and Grower Sts.. Los Angeles, Calif.
D. W. GRIFFITH STUDIOS, Mamaroneok, N. Y.
FAIRBANKS PICTURES CORP., 5320 Melrose Ave., Hollywood, Calif, (s).
FAMOUS PLAYERS-LASKY CORP., 485 Fifth Ave., New York City; 128 W. 56th St., New York City (s).
FOX FILM CORP., 10th Ave. and 55th St., New York City; 1401 "Western Ave., Los Angeles, Calif, (s); Fort Lee, N. J. (s).
GOLDWYN FILM CORP., 469 Fifth Ave., New York City; Culver City, Calif, (s).
THOMAS H. INCE STUDIO, Culver City, Calif.
JESSE L. LASKY STUDIO, 1520 Vine St., Hollywood. Calif.
METRO PICTURES CORP., 1476 Broadway, New York City; 3 W. 61st St., New York City (s) ; 6300 Romagne Ave., Los Angeles, Calif, (s).
NORMA TALMADGE STUDIO, 318 East 48th St., New York City.
PATHE EXCHANGE, INC., 25 W. 45th St., New York City; ASTRA FILM CORP., Glendale. Calif, (s) ; ROLIN FILM CO., Culver City, Calif.; PARALTA STUDIO, 5300 Melrose Ave., Los Angeles, Calif, (s).
REALART PICTURES CORP., 469 Fifth Ave., New York City.
ROBERTSON COLE, 1600 Broadway. New York City.
SELECT PICTURES CORP., 729 Seventh Ave., New York City; Hollywood, Calif. (s).
SELZNICK PICTURES. 146 W. 46th St., New York City.
UNITED ARTISTS CORP., 729 Seventh Ave., New York City.
UNIVERSAL FILM MFG. CO., 1600 Broadway, New York City; Universal City, Calif, (s).
VITAGRAPH COMPANY OF AMERICA, E. Fifteenth St. and Locust Ave., Brooklyn, N. Y. (s); 1708 Talmadge St., Hollywood, Calif, (s); 469 Fifth Ave., New York City.
Learn Photo £ raphy
Motion Pictu re -Portrait Commercial
from a successful progressive photographer operating 20 studios in large cities, and a producer of motion pictures.
EARN $35 to $100 WEEKLY
Easy and pleasant occupation
for men and women. Three months' course; all branches; uay and night classes; expert instructors : free use of up-to-date equipment in modern studios; easy payments; earn while learning.
€. BRUNEtT COLLEGE^
i of PHOTOGRAPHY
1269 Broadway New York
29 E. Madison St., Chicago. III.
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