Disraeli (United Artists) (1921)

CAST SYNOPSIS EXPLOITATION IDEAS Artists 9 Drawings and Newspaper Advertising Suggestions on GEORGE ARLISS’ first United Artists production “DISRAELI” From his celebrated stage success by Louis N. Parker Directed by Henry Kolker Scenario by Forrest Halsey Art Director, Charles O. Seessel Photography by Harry A. Fischbcck Because of the unusual advertising opportunities that are offered by the production of “Disraeli” the greatest amount of care has been utilized in carefully working out every phase of your exploitation cam¬ paign. The material in this folder, principally artists’ drawings, are all additional to the prepared news¬ paper advertising cuts and mats presented in another folder. These artists’ drawings have proven ex¬ ceptionally successful. Live-wire exhibitors everywhere are using them. Their popularity is due prin¬ cipally to the fact that they can be enlarged or reduced to whatever size desired. Entire campaigns have been worked out successfully with these suggestions and they have proven highly valuable as attention at¬ tractors. There are no cuts or mats to these drawings. The material prepared for you upon which cuts and mats are obtainable from your Exchange are pictured in the folder containing the Program and News¬ paper Exploitation Suggestions. “Disraeli” as you well know is a wonderful picture. The production lends itself to most unusual exploitation, ad¬ vertising and publicity, and for that reason we wish you would read through all this material carefully. Prior to our suggesting exploit¬ ation, allow us to give you some very helpful information on Mr. Arliss and “Disraeli.” Primarily, Mr. Arliss occupies a position among the greatest ac¬ tors of this or any generation. He has ataihed fame through years of trying experience, and through three decades of exacting public demands. His claim to distinc¬ tion, next to his enviable stage record, is based upon a life of study, a personality that is wholly individual, and thousands of friendships in high political life, here and abroad, in the halls of learning and in religious institu¬ tions of all classes and sects, a standing of unique distinction among actors. His public life, as his private life, has been remark¬ able for its adherance to high ideals, and in thirty years, his name, George Arliss, has become a household name throughout the civilized world- “Disraeli” the play from which this production was made, is by the well known English dra¬ matist, Louis N. Parker. The story is based on the life of the Hon. Benjamin Disraeli, M. P., and Prime Minister of England THE CAST OF “DISRAELI” The Hon. Benjamin Disraeli, M. P. GEORGE ARLISS Lady Beaconsfield . Mrs. George Arliss Mrs. Noel Travers . Margaret Dale Clarissa, daughter of the Duke of Glastonbury Louise Huff Charles, Viscount Deeford . Reginald Denny Sir Michael Probert, Governor of the Bank of England . E. J. Ratcliffe Hugh Meyers, a London banker . Frank Losee The Duke of Glastonbury . Henry Carvill The Duchess of Glastonbury.Grace Griswold Foljambe .Noel Tearle Butler at Glastonbury Towers.Fred. J. Nicholls SYNOPSIS OF “DISRAELI” The Duke of Glastonbury has invited a number of prominent guests to a week-end party at Glastonbury Towers. Among the guests are Sir Michael Probert, Governor of the Bank of England; Lady Travers; Charles, Viscount Deeford, who is seeking the hand of Clarissa, the Duke’s daughter; Disraeli and his wife (Lady Beaconsfield) and others. Disraeli welcomes the inci¬ dent, to broach the subject of the purchase of the Suez Canal to Sir Michael. The latter waives the matter aside, and on his return to No. 10 Downing Street, Disraeli sends for Hugh Meyers, a private banker. France built the canal, but the controlling shares were owned by thp Khedive of Egypt, as France was penniless ana unable to complete the canal w.thout help. Russia wanted the canal chietly in order to cut off England from India, and the Russian Ambassador in London employed Mrs. Noel Travers to watch Disraeli’s every move. The latter knew Mrs. Travers’ game, and at the request of the Duke, who 14new and suspected nothing, Disraeli put Mr. Foljambe, in reality (Mrs. Travers’ husband, to work in Downing Street, as a clerk. Meyers promises to obtain the money required to purchase the canal, and on the strength of a cable from the Argentine that gold was being shipped to cover Meyers’ cheque to the Khedive, Charles is sent to Egypt to close the purchase. Foljambe, who has discovered the details of the part Meyers has to play, starts for Egypt on behalf of Russia, but Charles arrives ahead of him, and is successful in his mission. The huge cheque signed by Meyers is accepted by the Khedive, and the deal closed. But the spies, through their activities, have been instrumental in having the ship bearing the gold scuttled at sea. Through a carefully planned system of “gossip,” Mrs. Travers starts a “run” on Meyers’ bank, and he is left a bankrupt. Disraeli is resting at Hughenden, his country home, and Meyers hurries out to tell the Premier of the crash. Disraeli is appalled, but char¬ acteristically enough he at once sets to work to undo the damage done by the conspirators. Mrs. Travers calls, and Disraeli, at first opposed to her visit, revises his plan, and feigns illness. “We must not let her out of our sight,” he ad¬ monishes Lady Beaconsfield and Clarissa. While seated at a table near Disraeli, Mrs. Travers sees a cable from Charles, from Egypt: “The celery is ripe to cut.” Near it is the code, to work it out. Mrs. Travers takes the code, but Clarissa accompanies her to see that she doesn’t read it. Later Disraeli re¬ covers the code, but tells Mrs. Travers that Charles has notified him that the Khedive has accepted the cheque signed by Meyers, and England owns the Canal. Mrs. Travers laughs, and tells Disraeli that Meyers is a pauper. The Premier, in the absence of (Mrs. Travers from the house, has sent Lady Beaconsfield in Mrs. Travers’ broughan, to fetch Sir Michael Probert who lives not far distant. Sir Michael arrives, and Disraeli explains what has happened, but when Disraeli asks Sir Michael to endorse a note for the amount of the purchase money for the canal, Sir Michael refuses. Then by means of threats that, as Premier, he has the power to close the Bank of England, Disraeli gets Sir Michael’s signature to the note. The Queen gives a reception in honor of Disraeli, at which all the great personages in the realm are in attendance. But Lady Beaconsfield, under the doctor’s orders, is prevented from attending the reception. The doctor prom¬ ises the Premier to send him a telegram if anything happens to Mrs. Disraeli. The Prime Minister goes to the reception, and bestows the Queen’s honors on Meyers and Probert, and tells Charles that the Queen in person will be¬ stow on him the ribbon of the Bath. Almost at the moment when the Queen is about to receive, Disraeli receives a telegram. He hesitates to read it, fearing the worst. At that instant Lady Beaconsfield apnears, having virtually left a sick bed to come, and Disraeli is happy to have his wife at his side as he passes before his Sovereign and bows low, in homage. under Queen Victoria. He has been considered one of the great¬ est Jews of modern times. The play was first produced for the stage in 1911, in Montreal, and became the starring vehicle for Mr. Arliss, in which he toured for over six years. The scenario for the screen version was done by Forrest Halsey, one of the men at the top of his profession. This screen version of this celebrated play can really be called a “command perform¬ ance,” for Mr. Arliss prior to its production was the recipient of thousands upon thousands of let¬ ters requesting that he perpetuate this wonderful play through a screen version. These requests were from educators and lovers of the drama. Prior to his at¬ tempting this production he ap¬ peared in an experimental pic¬ ture, so as to be assured that his inimitable art of acting would register on the screen with the same telling effect as on the speaking stage. Mr. Arliss him¬ self, who is a most exacting per¬ sonage, realized when “Disraeli” was finished that he had made a work of art, for in “Disraeli” the lure was of greater intensity, the appeal more general and the character of his work far more dignified and artistic. The “arrival” of George Arliss in motion pictures will always be counted as one of the greatest of screen facts to be recorded for 1921 -