Universal Weekly (1917-1934)

34 ■THE MOVING PICTURE WEEKLY Sample of cut which is in three sizes. Program, 1 and 2 Col. Order from the Supply Dept., 1600 Broadway, N. Y. "NEW LOVE FOR OLD." **j^ND she had beautiful dark-brown eyes, and her hair was burnished gold." Kenneth Scott started guiltily. He was one of the last of the vacationists in a White Mountain resort. He had had a beautiful reason for lingering, but the beautiful reason had turned him down cold. Old "Doc" Podden, itinerent butler, doctor and philosopher, had seen him sitting alone beside the road, and had rightly •diagnosed his ailment. "I thought it was something like that. Come up with me into the woods. I'll give you a cure for your old love." And straightway he introduced him to the family and household of Ben Sawyer, long-time resident and storekeeper of the village. His daughter Daphne took an unrestrained interest in Kenneth, and it was not long before a new love threatened to obliterate the old in his lonesome breast. Daphne in Tier simple way planned to announce the engagement at a dance which v/as planned as a sort of counter-attraction to the new roadhouse which had scandalized the village, but her little world came crashing down upon her when Marie Beauchamp, proprietress of the roadhouse, came to the dance, and Daphne found it was she that Kenneth had admired. He did not seem entirely disappointed, over it, either. Dashing out of the hall, she rushed blindly home, and Louis, a demonstrative Italian, thought he saw an opportunity to press his ardent love upon her, alone and defenseless. But Kenneth awoke from his momentary defection, and consummates his cure with a good stiff battle with the Italian, and a stirring rescue of Danhne. Publicity Stories For Ella Hall HOW I BROKE INTO THE MOVIES By Ella Hall gOME one was speaking about oldtimers in the picture business the other day, and although I am only twenty years old, I think I qualify as well as ninety-nine per cent, of the people appearing in pictures to-day. I have been in motion pictuies for eight years. To say that I broke into them is not exactly stating a fact, for they broke over me, as it were, and I was in before I knew it. I Lad played a rather import part in David Belasco's "Grand Army Man," and later had under-studied Mary Pickford in "The Warrens of Vii'ginia." After this I appeared with Isabel Irving in "The Girl Who Has Everything." It was during this engagement that I called on Miss Pickford at the Biograph studios where she had just started to work. Mr. Griffith saw me, and asked if I would work in a scene for him the next day. And that is the day that I made my dobut in screen work. Don't be overawed by that word "debut." Mine wasn't a pretentious affair at all. In fact, the role was so small that if any one had blinked at the wrongtime they would have missed my part out of the picture altogether without noticing that anything of importance was lacking in the production. The story was called "Hulda and the Goose," or something of that sort, and Miss Pickford, Mae Marsh and Robert Haron were the principal players. Mary was a princess in the story and I simply walked under her window carrying a roast goose on a platter. She stuck her finger in the dish and tasted of it as I went by, and then as she was drawn away from the window by her mother, she seized the bird and took it with her. My, but I was proud in my first part! After that I had parts of more or less importance with Mr. Griffith, with whom I stayed for two years. Then came a year with Reliance under the direction of James Kirkwood and a short experience with Fred Balshofer in the old Bison company. Then I joined the Univer.sal, and almost immediately after was put into a serial called "The Master Key." That brought me a great deal of popularity, but the picture in which I like best to be remembered is ".Jewel," Lois Weber's production of Clara Louise Burnham's widely read book. And now I am playing in my own productions. My latest picture is "New Love for Old," in which I will be seen at the Theatre on FILLERS FOR "NEW LOVE FOR OLD.' o LD Doc Podden was the philosophic friend of all the North country. When he saw Kenneth Scott sitting beside a huge beech tree and evidently meditating suicide, he slipped up to him unobserved, and said: "I will give you a cure for your old love." The young man was considerably startled at the accuracy of the doctor's diagnosis, but he accepted the cure and found it mighty sweet. Daphne was the cure. "That is the story in a nutshell of "New Love for Old," which comes to the Theatre on Who could have filled the roles of the cure and the love-sick young man better than Ella Hall and Emory Johnson, who are not yet graduated from the newly wed class? leading man. Emory got an old timer, speaking from the photoplay standpoint, as a wife, for Ella Hall has been in pictures for eight years. But speaking from the standpoint of vital statistics his wife is not yet of age. She is only twenty years old. Emory Johnson, who plays the principal role in support of Ella Hall in New Loce for Old," which comes to the Theatre on has been assigned permanently, legally and for life as Ella Hall's A JEIWCL PRODUCTION