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Screen Gossip
the cast of this latest Ann Murdock production are to be found Ferdinand Gottschalk, Rex McDougal, Hubert Druce, Amy Veness, and John Harwood. While several of these names are new to the screen, they mean much in the world of the speaking stage, and, following the release of the film via the Mutual exchanges, the fans will look forward with pleasure to seeing them
again and again.
Screen Gossip of last month chronicled the fact that Henry Walthall, former star of the Essanay forces, and famous the world over for his creation of the leading role in "The Birth of a Nation," has arranged to head an organization of his own to make Paralta pictures. Since that copy was written, still another star has become a Paralta lead. We refer to Rhea Mitchell, whom every fan will recall for her splendid roles in such Thomas H. Ince productions as "On the Night Stage," "The Beckoning Flame," "D'Artagnan," and "The Brink," besides playing the feminine lead in such AmericanMutual photo dramas as "The Gilded
Lina Cavalieri, who has scored a decided triumph in her first offering for Paramount, "The Eternal Tempt
Ycuth," "His Brother's Keeper," "The Overcoat," and "The Sable Blessing." Miss Mitchell has contracted to appear in eight big Paralta plays a year, and will stage her productions at the same studio in which Warren Kerrigan, Bessie Barriscale, and Henry Walthall are at work. She will have the benefit of the same general stafT, headed by Robert Brunton, production manager, R. Holmes Paul, art director, and Robert T. Kane, vice president of Paralta, as general supervising manager. She will make her debut under the new film brand in a play from the pen of Hayden Talbot, which the press department refers to as a "modern morality play."
Lina Cavalieri, one of the most recently acquired of the Paramount stars, has apparently scored a triumph in her first offering, "The Eternal Temptress," written especially for her by Madame Fred de Grassac. Especial credit seems to be due the director, Emile Chautard, for the excellent reproductions he has given us of glimpses of Old World cities — scenes like those which depict the Grand Canal with the Bridge of Sighs in Venice, and the Church of San Marco and the quays of Rome. It seems hard, indeed, to believe that these portions of the production were really staged in the studio at Fort Lee,