The Nut (United Artists) (1921)

Two Advance Stories —(Each story printed twice) NOTE TO EXHIBITORS : Give this story to the editor of the photoplay page of one of your local papers five days before your play date. This makes it possible for them to print it in the Sunday paper or on the day before you open. Photoplay editors usually make up their Sunday pages on the Thursday preceding the date of issue. Allow two papers to have each story. Ask for a double column head, a double column illustration and good po¬ sition on the page. Take along a selection of stills or an assortment of mats from press book cuts so the editor can choose a suitable illustration. Before presenting the story be sure to clip off this note; it is not meant for edi¬ tor’s eyes. WONDERFUL CAST IN FAIRBANKS’ NEXT PLAY A favorite expression of the New York theatre-goer is, “It is the sup¬ porting players'who made a stage suc¬ cess.” The same contention is main¬ tained by many picture-goers. For that reason, and also because of the pride every producer takes in making inter¬ pretations realistic, the utmost care is "MieXercised in choosing the cast for a ^pim play nowadays. The management of the. Theatre, which will show Douglas Fair¬ banks in “The Nut” for.start¬ ing next .announces that several of the screen’s most pop¬ ular players are included in the cast of this new United Artist’s offering. The leading feminine role has been given to Marguerite De La Motte, whose most recent triumph was scored with the ever-active “Doug” in “The Mark of Zorro,” which was recently proclaimed by the National Board of Reviews as one of the master produc¬ tions of 1920. It is an odd coincidence that Miss De La Motte’s first screen appearance as well as her triumph should have been scpred with Douglas Fairbanks. She was introduced to the photoplay world in the screen version of “Arizona,” playing the part of Lena, when “Doug” did this film several years ago Since then she has appeared as Jack Pick- ford’s leading lady and has also been either featured or cast as leading lady in several other notable productions, among them Emerson Hough’s story, “The Sage Brusher,” produced by B. B. Hampton; “Trumpet Island,”, a Vita- graph Special; “The Broken Gate,” an¬ other Hough story, produced by J. L. • Frothingham. William Lowery, who plays the part of the gambler ih “The Nut,” has vil- lained his way to fame in several Fair¬ banks’ features. He had the distinction of playing with “Doug” in the latter’s first photoplay, “The Lamb,” produced by D. W. Griffith. Lowery has had a very wide .experience on both the spok¬ en and silent stage. As a legitimate actor he appeared with such notable players as Robert Mantell, Richard Mansfield and Nance O’Neil. For the I, past thirteen years he has been work- > ing in pictures and in addition to do¬ ing some very remarkable character work, has been starred and has also ^lirected. Some of the best work of his JPcreen career was in support of Doug¬ las Fairbanks in “Double Trouble,” “Reggie Mixes In” and “The Man from Painted Post.” Morris Hughes, appearing in “Doug’s” latest offering, came to the Fairbanks’ fold from the Essanay studio in Chi¬ cago. In addition to his part in “The Nut,” he appeared also with the athletic “Doug” in “The Mollycoddle.” A deal of feminine beauty is added to the new production by the presence , in the cast of not only Miss La Motte but also of Barbara La Marr compar¬ atively a newcomer to the silversheet. Miss La Marr first won recognition as a scenario writer, not as an actress. She sold eight stories to the Fox Company, and some of them are now in produc¬ tion. Her first screen appearance was with Anita Stewart in “Harriet and the Piper.” Because of her excellent work in “The Nut” she is scheduled to ap¬ pear again with Fairbanks in “The Three Musketeers,” announced as his next production. Gerald Bring, noted actor and stage director, is also numbered among the Fairbanks players. Until quite recent¬ ly, Pring was stage director for Oliver Morosco. Sidney De Grey who played in “The Mark of Zorro” as Don Alberto is also portraying a role in the new Fairbanks’ feature. De Grey has a very distin¬ guished record in the film world, hav¬ ing appeared in such features as Metro’s “A Chorus Girl’s Romance” and with Will Rogers in “Jes’ Call Me Jim,” “Almost a Husband” and “Water, Water Everywhere.” Taken altogether, this combination of names promises film entertainment of the very highest type. WONDERFUL CAST IN FAIRBANKS’ NEXT PLAY I A favorite expression of the New [lYork theatre-goer is, “It is the sup¬ porting players who made a stage suc¬ cess.” The same contention is main¬ tained by many picture-goers. For that reason, and also because of the pride every producer takes in making inter¬ pretations realistic, the utmost care is exercised in choosing the cast for a film play nowadays. The management of the. Theatre, which will show Douglas Fair¬ banks m “The Nut” for.start¬ ing next .. announces that several of the screen’s most pop¬ ular players are included in the cast of this new United Artist’s offering. The leading feminine role has been given to Marguerite De La Motte, whose most recent triumph was scored with the ever-active “Doug” in “The Mark of Zorro,” which was recently proclaimed by the National Board of Reviews as one of the master produc¬ tions of 1920. It is an odd coincidence that Miss De La Motte’s first screen appearance as well as her triumph should have been scored with Douglas Fairbanks. She was introduced to the photoplay world in the screen version of “Arizona,” playing the part of Lena, when “Doug” did this film several years ago. Since then she has appeared as Jack Pick- ford’s leading lady and has also been either featured or cast as leading lady in several other notable productions, among them Emerson Hough’s story, “The Sage Brusher,” produced by B. B. Hampton; “Trumpet Island,” a Vita- graph Special; “The Broken Gate,” an¬ other Hough story, produced by J. L. Frothingham. William Lowery, who plays the part of the gambler in “The Nut,” has vil- lained his way to fame in several Fair¬ banks’ features. He had the distinction of playing with “Doug” in the latter’s first photoplay, “The Lamb,” produced by D. W. Griffith. Lowery has had a very wide experience on both the spok¬ en and silent stage. As a legitimate actor he appeared with such notable players as Robert Mantell, Richard Mansfield and Nance O’Neil. For the past thirteen years he has been work¬ ing in pictures and in addition to do¬ ing some very remarkable character work, has been starred and has also directed. Some of the best work of his screen career was in support of Doug¬ las Fairbanks in “Double Trouble,” “Reggie Mixes In” and “The Man from Painted Post.” Morris Hughes, appearing in “Doug’s” latest offering, came to the Fairbanks’ fold from the Essanay studio in Chi¬ cago. In addition to his part in “The Nut,” he appeared also with the athletic “Doug” in “The Mollycoddle.” A deal of feminine beauty is added to the new production by the presence in the cast of not only Miss La Motte but also of Barbara La Marr compar¬ atively a newcomer to the silversheet. Miss La Marr first won recognition as a scenario writer, not as an actress. She sold eight stories to the Fox Company, and some of them are now in produc¬ tion. Her first screen appearance was with Anita Stewart in “Harriet and the Piper.” Because of her excellent work in “The Nut” she is scheduled to ap¬ pear again with Fairbanks in “The Three Musketeers,” announced as his next production. Gerald Pring, noted actor and stage director, is also numbered among the Fairbanks players. Until quite recent¬ ly, Pring was stage director for Oliver Morosco. Sidney De Grey who played in “The Mark of Zorro” as Don Alberto is also portraying a role in the new Fairbanks’ feature. De Grey has a very distin¬ guished record in the film world, hav¬ ing appeared in such features as Metro’s “A Chorus Girl’s Romance” and with Will Rogers in “Jes’ Call Me Jim,” “Almost a Husband” and “Water, Water Everywhere.” Taken altogether, this combination of names promises film entertainment of the very highest type. TED REED DIRECTED ‘DOUG’S’ “THE NUT” Rise of Young Man to the Top Place Among Directors When “The Nut,” Douglas Fair¬ banks’ new celluloid creation is pre¬ sented at the.Theatre next. a new drector will be introduced to the picture-going public. He is Ted Reed, who guided the destinies of this novel gelatine play through its amazing complexities. The clever manner in which he de¬ veloped the various situations demon¬ strates that he is entitled to a place well up toward the top of that well- known mountain Mohammed men¬ tioned. Reed is a product of the Fairbanks studio. To put it in his own words, he is a graduate of the U. of D. F. (Uni¬ versity of Douglas Fairbanks.) The manner in which he found his way in¬ to the picture business is a story in itself. During the Third Liberty Loan Drive, Reed was in charge of sales¬ men’s meetings in Detroit. He was one of the Detroit committee that met “Doug”, Mary Pickford and Charlie Chaplin when they made their memorable transcontinental tour in behalf of the bond selling campaign. Fairbanks was so impressed with Reed’s “pep” that he insisted upon arrangements being made which en¬ abled this “live wire” to accompany them on the remainder of the trip. When the campaign was over and Doug had returned to his picture making in Southern California, he wired Reed, who had gone back, to Detroit, to come west and get into the game with him. Without knowing what his salary would be, or his duties either for that matter, Reed packed up and “hit the rattler” for Los Angeles. The first thing he did was to write the titles for “Say, Young Fellow.” Then he be¬ came scenario editor, and next public¬ ity director, and at last assistant di¬ rector on “When the Clouds Roll By.” He continued as assistant for two more productions—“The Mollycoddle” and ,f The Mark of Zorro.” And when the search began for a director for “The Nut,” Douglas Fairbanks decided to give Ted Reed his big chance. There is probably no one individual in the motion picture business respon¬ sible for the development of as many high-grade directors as Douglas Fair¬ banks. All told he has brought out four men who have made good behind the camera in a big way. They are Albert Parker, Joseph Henaberry, Vic¬ tor Flemming, and last Ted Reed. This is a very remarkable record and one that rightly reflects much glory on the genial “Doug.” No director in the business has a bet¬ ter foundation to stand on than Reed. His thorough grounding in the rudi¬ ments of picture making give him an ample understanding of every angle of the work. In addition to that, he is backed by a college education, having graduated from the University of Michigan as a chemical engineer. And if anybody has anything to say about Douglas Fairbanks that isn’t compli¬ mentary, it better be said when Ted Reed isn’t around. TED REED DIRECTED ‘DOUG’S* “THE NUT” Rise of Young Man to tha Top Place Among Directors When “The Nut,” Douglas Fair¬ banks new celluloid creation is pre¬ sented at the.Theatre next .a new director will be in¬ troduced to the picture going public. He is Ted Reed, who guided the destinies of this novel gelatine play through its amazing complexities. The clever manner in which he de¬ veloped the various situations demon¬ strates that he is entitled to a place well up toward the top of that well- known mountain Mohammed men¬ tioned. Reed is a product of the Fairbanks studio. To put it in his own words, he is a graduate of the U. of D. F. (Uni¬ versity of Douglas Fairbanks.) The manner in which he found his way in¬ to the picture business is a story in itself. During the Third Liberty Loan Drive, Reed was in charge of sales¬ men’s meetings in Detroit. He was one of the Detroit committee that met “Doug”, Mary Pickford and Charlie Chaplin when they made their memorable transcontinental tour in behalf of the bond selling campaign. Fairbanks was so impressed with Reed’s “pep” that he insisted upon arrangements being made which en¬ abled this “live wire” to accompany them on the remainder of the trip. When the campaign was over and Doug had returned to his picture making in Southern California, he wired Reed, who had gone back to Detroit, to come west and get into the game with him. Without knowing what his salary would be, or his duties either for that matter, Reed packed up and “hit the rattler” for Los Angeles. The first thing he did was to write the titles for “Say, Young Fellow.” Then he be¬ came scenario editor, and next public¬ ity director, and at last assistant di¬ rector on “When the Clouds Roll By.” He continued as assistant for two more productions—“The Mollycoddle” and “The Mark of Zorro.” And when the search began for a director for “The Nut,” Douglas Fairbanks decided to give Ted Reed his big chance. There is probably no one individual in the motion picture business respon¬ sible for the development of as many high-grade directors as Douglas Fair¬ banks. All told he has brought out four men who have made good behind the camera in a big way. They are Albert Parker, Joseph Henaberry, Vic¬ tor Flemming, and last Ted Reed. This is a very remarkable record and one that rightly reflects much glory on the genial “Doug.” No director in the business has a bet¬ ter foundation to stand on than Reed. His thorough grounding in the rudi¬ ments of picture making give him an ample understanding of every angle of the work. In addition to that, he is backed by a college education, having graduated from the University of Michigan as a chemical engineer. And if anybody has anything to say about Douglas Fairbanks that isn’t compli¬ mentary, it better be said when Ted Reed isn’t around.