The Billboard 1908-09-05: Vol 20 Iss 36 (1908-09-05)

The Billboard SEPTEMBER 5, 1908. Following is a list of late films by leading Manufacturers for early release: SELIG POLYSCOPE CO. THE POWER OF LABOR—A sensational picture story that will appeal to all lovers of fair play. It shows a condition of affairs often found in mills of this country when the owner lives in some foreign clime and leaves his employes at the mercy of a hireling. The first scene introduces two burglars who have just made a successful hall. They arrive at their den, a cave in the solid rocks of a Pennsylvania hillside, where they get into a quarrel over the gains of their ill-gotten wealth. A fist fight ensues in which the younger of the two, finding that he is being worsted at the manly art, draws a knife and slashes his pal across the breast. Gathering up all the booty, he makes his escape. Fifteen years elapse and we are in the office of John Flack, superintendent of the Great Harnagee Mills, beneath whose Van Dyke beard and immaculate clothes it would be hard to recognize the younger burglar of our first scene, but as the story develops we learn that the two men are the same. Being of an inventive turn of mind and finding himself in funds after his dastardly treachery, he has attended a _ polytechnical school, and securing a position at the Harnagee Mills, he has by absolutely unscrupulous methods risen to his present position. He has also acquired the stock gambling habit, and in order to supply himself with funds to gratify his passion, he has hit upon the ingenious plan of making sweeping reductions in the pay of his men without notifying the absent owner, who leaves the mill entirely in Flack’s hands. A reduction of ten per cent. has just gone into effect as our story opens, and discontent is rife in the mills. At this juncture danger threatens Flack’s plans. MHarnagee’s son arrives from college. He is honest and ambitions and does not believe in owning and controlling a great business without shouldering some of its responsibilities. He presents himself to Flack, handing him a cablegram from the elder Harnegee, in which that gentleman instructs the superintendent to put the young college graduate at work. ‘‘Let him begin at the bottom.’’ the instructions read. Our next scene shows our hero just coming out of the door of the foreman’s cottage. He and pretty Mabel, the foreman’s daughter, have been sweethearts since childhood, and young Bob Harnagee, having no false notions of pride, and in spite of his prospective wealth, loves and woos the girl of lowly station. The next scene is within the walls of the Great Mill. It is noon hour and the men are standing about in surly and dissatisfied attitudes, discussing the ten per cent. reduction. Young Bob comes along and is told by Mabel’s father of the discontent in the mill, adding that if this goes into effect it will mean a strike, as the men have been pushed too far The young man promises to see Flack at once and accordingly enters the superintendent's office. Clad in the garb of honest tofl he pleads for his fellow workers. ‘Is this order necessary, Mr. Flack?’ ‘‘That, sir, is my bustness,’” replies the superintendent. “If the men don’t like it, let them leave.’’ ‘Unless there is an imperative reason, I ask that you recail this order,’’ replies the young man. “See here, Mr. Harnagee, at present I am master here, and that order goes because I wish it, and I'll give no reasons to you or any one else.’’ ‘‘You are an infernal scoun‘rel,’’ the hot-headed boy replies, and but for tne quiet interference of Morton one of tbe head men of the mill, the two would have come to blows. The new champion of the laboring man and his rights leaves in high Jngeon, while the scheming superintendent does not ‘atend to be interfered with in his plans co obtain funds and lets the strike come. Its suppression wiil furnish him with an extuse for unlimited means, for the strike must be put down. Feuring that the young man may take it into bis bead to cable his father, the Idea suggests itself, why not put him ont of the way, and lay the blame on the strikers? He immediately proceeds to put his plan into execution. We see him bargaining with three thugs to kidnap the young man. Bob kisses his sweetheart good-bye at the gate of his home, and as she leaves him the men accomplish their purpose. They spring upon the back of our hero and a battle royal takes place before he is overcome and chloroformed; he is then hustled into a cab and driven to the mill. Mabel’s ears, sharpened by love, think they hear the sound of a struggle, and she returns to find evidence of one. She sees the cab disappearing down the street, and running after it she sees it turn into the yard of the mill, and going through the side door of the now deserted structure comes out under the car tracks leading from the coke bins to the furnaces. These are still running, as the strikers, wishing to be fair to their employers, have agreed to keep up the fires until the present charge is run. The girl looks up at the big doors leading from the bins and takes in the whole mean ing of what she sees. The cowards are plac ing the unconscious man on top of a car of coke, which will in another instant be started down the incline to empty its contents automatically into the burning hell of fire seething within the maw of one of those giant iron-eating monsters devised by man to melt iron and steel to his will, called a blast furnace. With a suppressed scream of agony the brave girl cuts across the yard. If she can reach the switch stand in time, she can throw the car on the track that passes close to the stand. which will enable her to drag her unconscious lover to safety. It is a race for life. Flack has overpowered the switch tender, set the mechanism for No. 5 furnace, signaling his hireling. and the car with its precious burden is rushing down the incline. With the strength of despair the girl clambers up the ladder and throws the switch. The car veers from left to right on the rails; the brave girl steadies herself, extends her arms, and as the car rushes by she grasps Bob's shoulders. Exerting all her remaining strength she rolls the lifeless man ery his perilous position to the track at her eet. Flack and his men, not caring to witness the end of their dastardly work, have fled, and little dream that their plan bas miscarried. Mabel secures help, and she and her father take Bob to their own home. His escape from death is kept a secret from Flack, who in the meantime has cabled the elder Harnagee this startling message: ‘‘Your son foully murdered by the strikers.”’ We see Anderson Harnagee receive this cablegram at his country estate in Scotland. Two weeks later the half demented owner arrives at Flack’s office to hear from his own lips the details of the dastardly deed. Flack at this instant receives the shock of his life. As he describes the cowardly work of the strikers, a ringing voice cries in his ear, *‘That is an infernal lIie,’’ and the man whom he supposed had been consumed in the blast furnace stands beside him. A few quick words of explanation from Bob put the elder Harnagee in possession of the real facts of the case, and Flack is an grily ordered to go, with the words, ‘‘Your arrest would only inflame the men, and rather than risk further trouble we will leave your punishment to the future.”’ Dame Rumor, however, has been busy among the striking employes. The owner's sudden arrival and the disappearance of Bob become known, as well as Flack’s cowardly accusation against them. So as that worthy appears at the gate their indignation gets the better of their judgment and he is set upon and roughly handled. He escapes them and flees for shelter to his office, and as he locks the heavy door in the face of his pursvers he turns in fancied security to find confronting him ‘Silent Morton,”’ a man who for years has been a faithful employe of the mill, a mysterious, quiet, uncommunicative human machine. ‘‘You must help me to avoid them, Morton. Telephone for the police; be quick—don’t stand there like a stone.”’ ‘‘For fifteen years, John Flack, I have worked and waited, hoping against hope, for a moment like this. It has come at last—you and I are alone, face to face, man to man—look!"’ A sweep of his hand and his brawny breast lies exposed. A deep, livid, jagged scar, extending from the neck half way to the man’s waist is what Flack sees. The sight takes his mind back to a cave in the mountain side. He lives over that brief struggle, and as he realizes the enormity of his crime against this man he pleads for mercy. ‘‘Ask mercy of God; you can expect none from me.’’ The two men struggle, and Flack fights like a cornered rat; over chairs and tables they roll. Flack gains his feet long enough to grab a heavy office stool and hurls it through the large window that leads to the interior of the mill. A quick leap and he escapes, but the relentless Morton is at his heels, and Flack gains the roof of the mill only to be dragged down by his pursuer As they roll to the edge of the roof, locked in deadly embrace, Flack’s eyes catch the glare of an open blast furnace, ten feet below. The strong arms of his antagonist drag him to his feet; two quick blows in the face and he totters over into the roaring furnace. with a yell of horror he meets the fate he had so calmly plotted to mete out to young Bob Harnagee. Our next scene represents a meeting between the grievance committee of the striking employes and Mr. Harnagee. He hands them a document signed by his son, which reads: ‘‘Reductions made without owner's knowledge. The old scale of wages will go into effect to-day. I recognize the power of labor. Your new superintendent, BOB. HARNAGEE.”’ Our last scene discloses the old mill in full operation. Bob and Mabel, now happily married, come into view. The satisfied workmen cheer them heartily, and our picture closes with prosperity and contentment for all. The whole story is a powerful argument for fair play between employer and employe. & LUBIN, THE PAWNBROKER.—‘‘Mr. Nathans’’ keeps a pawnshop—incidentally he keeps a son, whose idea of daily toil does not coincide with the father’s thrifty notions. ‘‘Nathans’’ is an ex ception to the accepted idea of a pawnbroker. He is shrewd, blunt and sparing of words, but seldom has the poor outcast and unfortunate left his place without some little encouraging lift. The son ‘“‘Abe,’’ after several days’ ab sence from home, finally puts in an appearance and proceeds to touch his father for some money. His mother and sister add their entreaties, but to no purpose, the old game is played out with “papa.’’ ‘Abe’? then swaggers off, conveying the impression that he will get it just the same. He has formed an attachment for an attractive young shoplifter. Aided by her pal, the son forms a compact to rob his father. The scheme is carried out. ‘‘Mr. Nathans’’ is knocked senseless with a blackjack in the hands of his son. The till is robbed and the thieves depart. A quarrel occurs among the thieves. *“Abe”’ is severely battered. At the same time the police break in, led by the father, who accuses his son. Five years later a poor, broken figure of a man enters the shop. With tear-dimmed eyes he implores his father’s forgiveness. ‘‘Nathans’’ takes the prodigal to his heart and he is once more admitted to the family circle. % EDISON. ROMANCE OF A WAR NURSE.—Preface Amid shrieking shells and dying groans, a heroic nurse finds opportunity to further serve her coun try—Daring all—Patriotism opens the door to Love, and she meets and merits her great re ward. On the Battlefield—Two armies opposed—In battle array—Outpost halts carriage—Demands assport—Lady emerges—Corporal in akes her to headquarters. The Field Hospital—Lady put in charge of nurse—Corporal seeks Captaln—Captain finds passport correct—Attack on hospital—Soldiers rush forth—Nurse calms lady—Fighting outside. “War is Hell" Soldiers driven back—Fire from hospital—Pandemonium = reigns—Windows broken—Doors splintered Shells crash through walls—Floor falls—Lady struck. A Patriotic Mission—Nurse alone rushes to ald —Lady apparently dead—Discovers important letter—‘'For the good of the cause’’—Determines to assume her place—Quick change of costumes— Victors enter—Nurse given escort—Leaves in carriage. Sn route South—Beyond battle zone—Guard leaves—Carriage hastens on. The Southern Home—Disguised nurse reaches destination—Met by mother and son—Son is Captain—Cordial welcome—Shows letter—Unsuspec ted. “All's Fair in Love and War’’—Captain smitten—Lays siege to nurse’s heart—l’resses suit— Nurse hesitates—Courler arrives—Consultation— Nurse learns important news. The Mysterious Lady—Veiled lady arrives— Mother receives her—Nurse denounced—Proofs shown—Mother thinks insane—Lady shown out. ‘“‘As From the Dead’’—Nurse, happy, enters librarys—Receives important papers—Makes fear ful discovery—Lady abruptly enters—Confronts nurse—Demands retribution—Nurse offers all—‘Spare my love’’—Lady unrelenting—Nurse defies her—She calls her lover—Waits decision—Love's victory—Lady departs—Captain escorts. The End Justifies the Means—Captain returns —Sees shadow on door—Suspicions awakened— ‘“*Twixt love and duty’’—Demands explanations— A harsh measure—The unexpected—A confession —Woman to woman—Happy reconciliation—Love triumphs. oo BIOGRAPH. BALKED AT THE ALTAR.—Artemisea Sophia Stebbins, whose story is told in this film, was a love-lorn spinster who had delved into the mysteries of “‘Three Weeks,’’ as well as being conversant with the teachings of Laura Jean Libbey. Her dearest hobby was to possess a hubby. Mary there were whom she tried to hook but in vain, for, truth to say, Arte was of pulchritude, a bit shy. She had the complexion of pale rhubarb and a figure like a wheat sack. Still, her motto was ‘‘Nil desperandum,’’ and she was ever hopeful. One thing in her favor, her father, Obediah Stebbins, avowed his aid. Of the visitors who called at the Stebbins dimicile, Hezekiah Hornbeak seemed the most probable to corral, so Artemisea set to work. Hez at first was a trifle recalcitrant, but was soon subdued by Obediah’s gun, which we must admit pos sessed egregious powers of persuasion. The day for the wedding was set and to the village church there flocked the natives to witness this momentous affair. All was progressing serenely until the all-important question was put to Heze kiah, and instead of answering ‘‘Yes,’’ he kicked over the trace and tried to beat it. His escape by way of the door was intercepted, so it happens that the little church is in sore need of a stained glass window, for Hez took a portion of it with him in his haste. Out and over the lawn he gallops with the congregation close at his heels, Artemisea Sophia well in the lead. Down from the terrace on to the road they leap and across the meadow until they come to a fence, on the other side of which are two boys shooting craps. Over this hurdle they vault, coming plump down on the poor boys, almost crushing the life out of them. Regaining his equilibrium, Hez forges on, coming to the very acropolis of the town. The descent therefrom is decidedly precipitous, and makes Hez hesitate for a moment, but only for a moment, for the howling horde is still in pursuit, so down he goes in leaps and falls to the bottom, followed by a veritable avalanche of human beings. Owing to this mix-up, Hez has a chance to distance them a little, and being almost exhausted, he attempts to climb a tree, but too late, for the gang is soon on him and carry him back to the church, where the ceremony is started again, and when he is asked that all-important question he fairly yells, ‘“‘Yes, b’gosh!'’ Artemisea is now asked the question, and to the amazement of all present she says, ‘‘Not on your county fair tintype,’’ and flounces haughtily out of the church, leaving poor Hezekiah in a state of utter collapse, surrounded by sympathizing friends. *% KALEM ROBIN HOOD.—We are at the butts, where the annual contest for the championship of Sherwood Forest is being held. The prelimin ary shots have been made and we see Robin Hood respectfully saluting Maid Marian, as he steps up for his shot. Now he shoots and it is a good one, as we can tell by the ripple of excitement. A herald runs out to bring in the target. Now he shows it to the sheriff of Nottingham, and one by one the arrows are removed and given to the successful contestants. The last arrow is in the center of the bulls-eye. Whose is it? Robin steps forward and claims it. He has won and reluctantly the sheriff hands him the prize— a golden arrow. Robin instantly presents it to Maid Marian and leaves abruptly, the sheriff scowling as he goes. Scene II.—Robin Hood Joins the Outlaws in Sherwood Forest.—Now we are in Sherwood Forest, at the outlaw camp. The tall fellow is telling the story of the victory Yes, this is Robin, come to join the band. They accept him as a welcome member and at once give him the oath of allegiance. With the clear water of the brook they christen him, around his neck they place a talisman, in his right hand they put the stout bow of ash and over his shoulder the green cloak, which is the uniform of the band. And now they drink a toast in ‘“‘brown October ale."’ “Success to our band and confusion to the Sheriff of Nottingham.’’ Robin drinks his cup to the dregs. Scene III.—Robin Fights With Little John and Makes a Friend.—The heart of the green wood, and we see a plank across the brook. Little John and Robin, strangers up to this time, meet at the center. Neither will give way. They decide ‘to fight. Now they are at it with their quarter staves and both go into the water struggling. Puffing and blowing, they fight their way to shore and start to renew the contest, when a hunting horn is heard. The other members of the band have heard the commotion and rush up. Robin and Little John are made known to each other and thus the meeting, which started in a fight, is the begin ning of a life-long friendship Scene I1V.—The Sheriff of Nottingham Cap tured by Robin’s Band.—-Again we are at the camp and Robin, with his men, are seen doubt— approaching with a prisoner. Sure enough, it ts none other than the Sheriff of Nottingham, now at the merey of the merry men he has perse cuted. They take away his gold and his neck lace and force him to drink a toast He drinks but seizes the yp arg to escape and legs it off, pursued by the fat cook. He will not ven ture into the greenwood again without a guard Scene V.—Friar Tuck Carries Robin Across the Brook.—This is Friar Tuck, and here we have Robin again. Robin is in a jovial humor, and it is his whim to make the monk carry him across the brook. At the point of the crossbow Friar Tuck wades the brook and Robin climbs upon his back. Into the stream they go, the monk gingerly picking his way. But he stumbles and both go splashing into the water. The monk is first to the other side, and seizing his sword, he has Robin at his mercy and Robin in turn is forced to play the packhorse across the brook. Again they splash through, and again Robin gains his crossbow and makes Friar Tuck carry him. This is enough, and as the merry men rush In all enjoy the joke. Scene VI.—Robin Again Meets Mald Marian.— Truly a beautiful scene—one of the loveliest 1 have ever seen. Is this an outlaw? No, it is Maid Marian, who, disguised as a boy, has come to the forest to meet Robin Hood. And now we have Robin himself. He does not — nize the stranger and at once a challenge is given and oconptes. They fight with swords and bravely Maid Marian defends herself. See, she has disarmed Robin and he is at her mercy. But as he looks Into her face he now recognizes her as the beautiful Maid Marian, and the two, now united, go off toward the camp tin loverlike embrace. Scene VII.—The Wedding in the Greenwood.— The camp is now by the waterside and the outlaws are preparing their evening meal as Robip Hood approaches with Maid Marian. All salute the leader and the girl, and Robin advances with his sweetheart to Friar Tuck, where the good monk says the words which unite them forever. + VITAGRAPH CO. JUST PLAIN FOLKS.—This is the story of a simple country girl. She is observed at home with her people as the minister makes a toral call. he young lady appears restless, as if expecting somebody. Presently a boy comes up with a note, which she answers. The writer, who is a city chap, presently appears, fondly embraces the girl and plans to elo with her. A meeting is arranged and the villain departs Unobserved by either of them, the girl’s father has overheard their conversation and reproves his daughter. She intercedes for dher lover, but the old gentleman will not hear of it. Entering the house, the girl dresses for traveling, bids good-bye to the old home, meets her lover, but the old gentleman will not hear clergyman, who is himself in love with the girl, notices the departure, and fearing for the welfare of the girl, follows. In due time the couple reach the city and we find them entering the parlor, where the occupants are —. smoking and gambling. The country girl is bewildered. A toast to his bride is offered by her companion. She at first refuses, but finally yields to persuasion and raises the glass of champagne to her lips. At this moment the pastor enters the room, knocks the glass out of her hand and implores the girl to return to her home with him. She refuses, runs to her lover, while the minister is shown the door. As is always the case, the girl is eventually cast of by he insincere lover, and in wandering aimlessly through the street, comes upon a mission. The sign ‘‘Welcome’’ over the door seems aD invitation and she goes inside, where, to ber astonishment, she finds the clergyman from her home conducting the services. His exhortations touch her heart and she goes to the altar for prayer. The minister is shocked, and observing the false lover in the audience, the pastor accuses him of her downfall. The villain’s life is then threatened when the story is told, but the timely arrival of the police prevents further trouble. Returning to the old home, we find the heartbroken father sitting dejectedly in his armchair. He finally gets up and goes to his room. As he does so, the daughter enters witb the pastor. The old man is called and is overjoyed at the sight of his child. After granting forgiveness he gives his child to the minister with his blessing PATHE FRERES. MR. FUZZ.—In this pretty fairy tale we see little Mr. Fuzz shortly after he bas opened his eyes for the first time on the light of this world He is a queer little creature and does not present a very attractive appearance as he is carried around in the arms of his nurse among the amused friends of his parents. In the next picture which is sixteen yeare later, he is bewaliling his fate and feeling humillated at his ugliness, when all at once the good Fairy Queen appears to him and shows him in a vision a beautiful Princess, telling him that if he succeeds in winning her love he will be transformed into a dashing young man. The next scene is in the castle, where we see the beautiful young Princess, who is the laughing stock of the court for her dullness and stupidity. She feels her position keenly when she is jeered at by all the courtiers, in_ the presence of her mortified parents,, the King and Queen. When she is alone the Fairy Queen appears and tells her that her future husband holds it in his power to make her intelligent and witty. She goes forth in searcb of him, and as she is passing through the woods, she meets Fuzz, and is horrified at bis ugliness, but is willing to try her fate, #0 promises to marry him one year hence. The engagement has its desired effect, for when she returns to court, she astonishes every one present by her wit and humor, and in place of being the laughing stock, she is now looked upon as a wonder. When the year elapses, however, she forgets her promise, until one day, when passing through the woods, she enters a cave and sees a lot of nymphs preparing a wedding feast. Upon learning that they are preparing her own wedding, she hastens forth in search of her future busband. She soon meets Mr. Fuzz, and when she tells him that she is ready to become his wife he is immediately changed into a very handsome young fellow, which causes her no end of delight, so they hurry off to the palace and after receiving the parents’ blessing they are married. The last picture shows the wedding feast and the happy young couple in the midst of all their friends, who shower them with congrat ulations. Nathan Stein announces that the Dixie Theatre, Mattoon, IIL, which has been closed for about six weeks, will reopen September 15. Mr. Stein, since his arrival In Mattoon last spring, has bullt up a fine business and has been giving the people up-to-date vaudeville shows. The room he occupied at first was not large enough for his business, and a alxty-foot extension has been added and new opera house chairs installed, making the seating capacity five hundred and fifty. Mr. Stein has been in the vaudeville business for five years and knows how to provide a first-class and up-to date show.