Photoplay (Jan-Jun 1920)

lOO J. rLKJ l\jMrLt£\ X l.JXi\\Jr%.£^Ll-M^ ^ ».L/ ? JJl,»X ji»jax-» V« K^M^\^ M. i\J±-% DINH Readi-Cut ones Lumber Yar('i ha^ sufficient manv years. Avoid Lumber Shortage LuMiber shortage — a virtual famine of lumber exists in mnny parts of the country. Reports inilioitp thiit it is impossible even now to get materiul for certain uee-ls Stocks were never so low aa they .ire at prenent. The demand was never so great as it is nn\v. This Means Still HigherLumbsrPrices. It means til at pri'cs will go upwards rapidly— th'it it will possiblv take 8150 in six months or a year to buy SlOO worth of lumber. Will yon be forced to pay these prices? Will your need of a home in six months cost you a 50% or a tOO'^ penalty? m^iiil^ T\Ij^TAr Early buvers of Aladdin Homes are i^Vtli*-* l^*-fVV assured delivery. Aladdin buyers are also assured a hit; saving—from S300 to SIOOO. BUT, quick action ie necessary. The enormous demand for homes will Roon fill the Aladdin Mills to capacity. Your order will posH hi v bp too late. An important messge to every builder is oon«-ained in the Aladdin Oiitaloji. It is the message to ynu from the World's greatest home-building organizat ion Send for this book today. Aladdin Houses are cut-to-fit as follojws; Lumber^ mill-work, flooring, outside and inside finish, doors, windows, shiiitrles, lath and plaster hardware. lorkn, nails, pamts. varnishes. Complete material is shipped to you in a sealed box cy, all ready National Service Al-uiditi MilU atelo'-ateH in Michitran. North Carolina Mississippi an 1 Oroiron. The Aladdin s arc thd four Kreatest fofists of the United States, Each one atandinir timber to take ca-e of the.needs.of the country for The possible lumber famine predicted in all partiS of the co-ntry will not affct the Aladdin Co. Every Aladdin Home manufactured in 1920 will be shipped quickly and completely. No shortaee of a few Erades of materials from the Aladdin House order. to erect. 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The Shadow Stage (Continued from page 68) THE TREE OF KNOWLEDGE — Artcraft THE impression might easily be gained from the printed announcements that Theodore Kosloff and Yvonne Gardelle appear in person at each showing of "The Tree of Knowledge," to dance an Edensque prologue between the overture and the first reel. But they don't. They are merely a part of the picture. Mile. Gardelle appears as Lillith, the legendary predecessor of Eve, and the lady, who, some aunties believe, put all the bad thoughts into Adam's mind. She is clothed in an atmosphere of apprehension and a long, thick. Lady Godiva wig. M. Kosloff, as Adam, a gent of shreds and patches of excelsior, seeks the interesting Lillith's acquaintance and is thereafter damned because of all the things she could tell about him if she wanted to. Thin as this little prologue is it is the one original sprig growing out of "The Tree of Knowledge." Even workers as capable as Margaret TurnbuU, who made the adaptation from R. C. Carton's play, and Wm. C. De Mille, who directed it, could not, or at least did not, save if from a soggy conventionalism. Nigel Stanyon (Robert Warwick), a modern Adim who had devoted his youth to a profiteering Lillith (Kathryn Williams), discovers her finally to be interested only in his money and not at all in his soul. He returns then to his old home town and to a sweet faced girl (Wanda Hawley) who insists on loving him in spite of all. The wicked Lillith turns up again as the wife of Nigel's best friend and does her best to provoke a scandal, an enterprise which happily for most of the company is unsuccessful. "The Tree of Knowledge" is to me of negative. A good, husky "heavy" is wasted whenever they cast Robert Warwick as a hero. Miss Hawley is again decorative as the innocent heroine. Irving Cummings adds another to his list of passionate pilgrims and Tom Forman capably assists. THE GARAGE-Arbuckle THE gentleman who exhibited "The Tree of Knowledge" at the theater I attended had the excellent judgment to show on the same bill the first of a new series of Paramount-Arbuckle comedies called "The Garage." I, who detest most of the slapstick farce of the screen, mention it here because, to me, it is so far ahead of the Sennett and Sunshine brands that any comparison greatly favors the Arbuckle creation. And yet the fun is as broad as "Fatty" himself, and the pace as swift as any of them. Even the oft-quoted pie of custard has a smashing exit in one scene, though it lands against the side of a limousine, and not against the face of an actor. "The Garage" is superior slapstick stuff because someone connected with the creation of it has had the courage to use his wits as well as his Rabelasian instincts. Good farce has as rightful a place on the screen as it has on the stage. Even good rough farce. But when it is permitted to degenerate into the pictured ravings of vulgar half-wits is becomes a menace. This first Arbuckle sample is at least a heartening promise. I hope sincerely that all the wouldbe farce directors see it. MARY'S ANKLE— Ince-Paramount IT isn't easy to preserve the spirit of an extravagant farce on the screen. So much depends uf)on the personalities of the players — their voices, their facial contortions, their studied fear of the consequences hinging rrcrj advertisement in PHOT0PL.\Y MAGAZINE is guaranteed.