Reel Life (1914-1915)

Sixteen REEL LIFE STORIES OF THE NEW PHOTOPLAYS HILE “Our Mutual Girl’’ was busy this week assisting at the opening of the new Strand Theatre on Broadway, the largest theatre de¬ voted exclusively to motion pictures in the world, she also found time to be filmed with Dr. Katherine Bement Davis, the new woman Commissioner of Correction, on the twentyfourth floor of the Municipal Building in New York. On Holy Saturday she visited the Union Square flower mart in New York, and the next day, Easter Sunday, joined the great throng of fashionably dressed promenaders on the boardwalk at Atlantic City. Up at the Thanhouser Studio “Al” Jennings, who de¬ scribed his career as a bandit in the “Saturday Evening Post,” started the first of his series of adventures which will be incorporated in a six-reel photodrama to be pro¬ duced by the Thanhouser Company. “Al” Jennings ar¬ rived in New York with Sheriff “Bill” Tillman, of Okla¬ homa, who also will appear in “Beating Back,” the Than¬ houser release. The Mutual Film Corporation from its other Eastern and Pacific Coast studios will shortly release the follow¬ ing program of representative photoplays: OUR MUTUAL GIRL In Which Margaret Acts as Patron To a Poor East Side Violinist (Reel 15) Released April 27, 1914 Starting out bright and early in the limousine, Mar¬ garet (Norma Phillips) and her aunt, Mrs. Knickerbocker (Maym Kelso) pay a visit to Lord & Taylor’s wonderful new department store on Fifth Avenue, where they view the latest Paris gowns worn by the mannequins. The beautiful models parading on a raised dais at the end of the exhibition salon excite Margaret’s delight and several purchases are made. From Fifth Avenue Margaret and Auntie drive down on the East Side, where Margaret hears a girl musician playing in the street. The sweet strains cause the tears to well up in Margaret’s eyes and the car is driven close to the curb, where Margaret engages the pretty violinist in conversation. Upon Margaret’s suggestion Auntie invites the shab¬ bily-dressed girl to enter their machine. A visit is made to Walter Damrosch, the famous composer and sym¬ phony orchestra director. When the girl is introduced, she pulls from her waist one of her own compositions. Mr. Damrosch “tries out” the ’script on his piano and finds it not without merit. He is so much impressed with the young woman’s talent that he gives her a letter to the head of the Institute of Musical Art. Margaret meanwhile takes her protegee home and gives her some new clothes. A visit is then made to the Insti¬ tute, where arrangements are completed to give her a musical education. Pleased with having made the most of the day, Margaret and her aunt return home to dress for dinner. MUTUAL WEEKLY, No. 70 Released Week of April 27 In the latest number of the Mutual Weekly a remark¬ able variety of subjects is included for the entertainment of those who like the world’s news in photoplay form. Among others the following subjects are shown: An au¬ tomobile hearse which is equipped with electric bells and every modern mechanical device ; a Mexican dog which can curl up in a teacup; dancing in the United States Navy; the De Soto anniversary carnival at St. Peters¬ burg, Fla. ; the opening of the Roumanian parliament and introduction of the new liberal ministry; a remarkable view of Gen. Carranza and his staff; the funeral in Paris of M. Calmette, editor of the “Figaro,” in a rain storm; the destruction of a Copenhagen theatre by fire; the club¬ bing of I. W. W. demonstrators in Union Square by the New York police; the induction into office of the new King of Albania, the former Prince of Wied; and, finally, the testing of life preservers by the U. S. Government on live subjects, who plunge into the water from the navy yard docks. _ THE SMOULDERING SPARK An American Release Which Tells the Story of a Dere¬ lict’s Regeneration April 29, 1914 CAST Jack Martin . Ed Coxen Frederick Miller, a retired clubman . Wm. Bertram Mrs. Miller . Ida Lewis Tom Miller, her erring son . George Field Ellen, her daughter . Kathie Fischer Robert Duncan, Miller’s friend . Reaves Eason Standing in the club windows, looking at the derelicts seated on the park benches opposite, Frederick Miller and Robert Duncan enter into a discussion. Miller wagers that, given a chance, any one of the human dere¬ licts in the park would redeem himself and live a decent, self-respecting life. Duncan scoffs at the idea. To prove his assertion, Miller takes Jack Martin, one of the unfortunates, into his home and makes a butler of him. Martin, at first antagonistic to his benefactor, grad¬ ually comes to hold him and his family in high regard. Tom Miller, the clubman’s son, spends most of his time with fast companions, and steadily sinks deeper into debt. Martin sees the path the young man is blazing for himself, and tries to “tip him off to the right thing,” but young Miller scoffs at the butler’s suggestions. Pressed hard for payment of his debts, young Miller rifles his father’s safe. Jack sees the young man at work, but wishing to shield the boy and fearing that the shock of the truth would perhaps be too great for his mother to bear, assumes the blame himself when the theft is discovered. Martin is dismissed in disgrace, and immediately drifts back into his old life. Passing a saloon door several weeks later, he hears a brawl, and enters in time to see Tom being beaten by his new-found friends. Martin saves his former employer’s son from further harm, and takes him home. Tom, remorseful at the harm he has done Martin, confesses the theft of the money. Martin is joyfully reinstated in his old duties, and Miller writes to Duncan, saying: “I win the wager. Our derelict not only possesses the smouldering spark, but he has made a man of my son as well.” ( Continued Overleaf)