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Full text of "Photoplay (Sep - Dec 1918)"

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Scanned from the collection of 

The Museum of Modern Art Library 



Coordinated by the 

Media History Digital Library 
www.mediahistoryproject.org 



Funded by a donation from 
Domitor 



Scanned from the collection of 

The Museum of Modern Art Library 



Coordinated by the 

Media History Digital Library 
www.mediahistoryproject.org 



Funded by a donation from 
Domitor 



.'110 rr^u-hJCyKA^L-^L- "V? 



Digitized by the Internet Archive 

in 2012 with funding from 

Media History Digital Library 



http://archive.org/details/phodec15chic 



THE WORLD'S LEADING MOVING PlUlURE MAGAZINE 



PE 

feptem6er 
70 Cents 



PLAY 

MAGAZINE 



^^ ^ «'J </~«f./ fcl^kfr ,.^<^Sl^^r 



\f\Urp in RpanW* When y°« finish readi 

nonce 10 neaaer. tniM maKazine P | act , 

l-cent Btamp on this notice, mail the mas 
zine, and it ill be place I in the hands of <: 
soldiers or tailora destined to proceed ov« 

Seas. NO WRAPPING - NO ADDRESS. 

A S.BnRiKgON, Postmaster Gener 




L I LA L E E t Painted by H A S K E L L COFFIN 



Julian Johnson — 

Have a Heart ! 

What the Moving Picture ashs of YOU 



BUT WAR 
SAVINGS 
STAMPS 



Louella 0. Parsons — 

Propaganda! 

How the Moving Picture is fighting the Hu » 



That Feeling 

of \s« 

Delightful Cleanliness 

The unquestioned purity, the 
transparency, the distinctive Rose 
perfume, fragrant, yet elusive, 
impart a delightful charm to 

KIRK'S 

Jap Rose 



Its instant lather, so smooth, creamy and 
"bubbly" leaves a satisfying feeling of per- 
fect cleanliness and the best test of a toilet 
soap is how your skin "feels" after you 
have used it. 

All the resources of the great Kirk Labora- 
tories, the purest oils and the most expen- 
sive perfumes have been called upon to 
make Jap Rose the premier toilet soap 
of America. 

constant delight. 




Photoplav Magazine — Advertising Section 



f* 




ckemg the World's Best Stories 




O see the characters of a fam- 
ousnovel cometolifeuponthe 
screen is a tremendous thing! 

There, alive, in flesh and 
blood, is the hero, or heroine, 
whose exploits you followed breathlessly 
upon the printed page. 

To the great organization behind Para- 
mount and Artcraft motion pictures we are 
indebted for this in the case of "Tom Sawyer", 
"Oliver Twist", "The Sub-Deb Stories", 
"Cinderella", "Old Wives for New", "David 
Harum", "The Bottle Imp", "To Have and 
to Hold", "Great Expectations", "The Vir- 



ginian'V'The Firefly of France", "His Majesty 
Bunker Bean", "The Varmint", "Maeter- 
linck's "The Blue Bird", "M'liss", "Resur- 
rection", and literally scores upon scores of others. 

The beloved characters of these romances 
find a new and rich lease of life in the talent 
of the equally beloved stars of Paramount 
and A rtcraft, 

— foremost in their world as the fiction- 
characters in theirs, 

— as superbly directed in their actions as 
were those they portray, 

— and doubly fascinating because touched 
with all the warmth and light of life. 




jHoiian (pictures " 



ThrPP W/77/C tn JCnnm how to be sure of seeing Paramount 
J. lUZZ YV Uyt IU TS.UULV and Artcraft Motion Pictures 

Om — by seeing these tlVO — by seeing these three — by seeing these 

trade-marks or names trade-marks or lames trade-marks or names 

in the advertisements on the front of the flashed on the screen 

of your local theatres. theatre or in the lobby. in»ide the theatre. 



V<3? 



V ^m?) FAMOUS PLAYERS -LASKY CORPORATION >7 A Z&milfcr* 1 "' 

■^^^^^^ ADOIPM ZUKOR/Vv* JESSE LUSKYlfa Prvi CECIL BDEMILLE D.rKtor GtrKrvl M-^'N^—--^ A^K ^sjKhu 



FOREMOST STARS. SUPERBLY DIRECTED, IN CLEAN MOTION PICTURES 




mien you write 10 advertisers please mention PHOTOPLAY MAGAZIXI.. 



Photoplay Magazine — Advertising Section 




Haworth Picture? Corp. 



<J> 



KKOUKCeP. 






> — 4 1 










\ 1 



A series of ei&ht five and 

six part motion picture productions 
featuring the eminent Japanese star 

Sessue Hayakawa 

Aided by a supporting company of prom- 
inence, including Marion Sais and Tsuri Aoki; 
under the direction of James Younfe and William 
Worthinfcton alternately. The first two produc- 
tions to be released, befeinninfe September 1st, are 

-^His Birthright - The Temple^ Dusk' 



Your favorite theatre will be &lad to 
show these superior productions if you 
mention your interest to the manager. 



liable at all Mutual Film Exchanges 




REG. U. S PAT. OFF. 



THE WORLD'S LEADING MOVING PICTURE PUBLICATION 

PHOTOPLAY MAGAZINE 



"The National Movie Publication" 

Copyright, 1918. by the Photoplay Publishing Company 1 Chicago 






VOL. XIV 



Contents 



No. 



SEPTEMBER, 1918 



Cover Design — Lila Lee 

From the Pastel Portrait by W. Haskell Coffin 

Art Section Portraits: Marjorie Rambeau, Norma Tal- 
madge, Ben Alexander and mother, Martha Mansfield, 
Fred Stone, Marie Provost, Geraldine Farrar, Lou 
Tellegen, Wallace McDonald, John Bowers, Irving 
Cummings, Eugene O'Brien, and Lois Meredith 

After the Deluge Editorial 

The Myriad Moods of War (Pictures) 

A Variety of Snapshots from Overseas. 

Have a Heart Julian Johnson 

Appealing for Tolerance from Motion Picture Patrons. 

The Service Star (Fiction) Dorothy Scott 

Retold from the Patriotic Photoplay. 

A Merry Hamlet Alison Smith 

Conway Tearle, the Melancholy, is Really a Cheerful Soul. 

The Property Room (Poem) Charles McMurdy 

And the Treasures Stored Therein. 

Stifling the Tears 

Mary Warren Just Emoted in Her Own Little Way. 

Odds and Ends (Pictures) 
Just That. 

The Lady? No, the Car! Alison Smith 

Hugh Thompson Would Rather Talk Autos Than Leading Ladies. 

Propaganda! Louella 0. Parsons 

The Parj.the Screen is Playing in the Great War. 
(Contents continued on next page) 



. 



27 
28 

30 

33 

37 

38 

39 

40 

42 

43 



Published monthly by the Photoplay Publishing Co., 350 N. Clark St., Chicago, 111. 

E. M. Colvin, Pres.; James R. Quirk, Vice Pres. and Gen. Mgr.; R. M. Eastman, Sec.-Treas. 
Julian Johnson, Editor. W. M. Hart, Adv. Mgr. 

Yearly Subscription: $2.00 in the United States, its dependencies, Mexico and Cuba; 
$2.50 Canada; $3.00 to foreign countries. Remittances should be made by check, or postal 
or express money order. 

Caution — Do not subscribe through persons unknown to you. 

Entered at the Postoflice at Chicago, 111. , as Set ond-class mail mattei 



Next Month 

Without referring to Messrs. Zukor, 
Lasky et al., we promise that next 
month's will be a paramount issue of 
Photoplay Magazine. It will be full 
of the most timely special articles, it 
will be vivid as an autumn forest with 
its array of unusual illustrations, it will 
be surcharged with personality material, 
it will give all the news of the whole 
field of motion pictures, and it will, 
especially, follow in its own field the 
widely divergent courses of America's 
manifold energies in the prosecution of 
our great war for the freedom of the 
world. This periodical feels that it is 
not only a duty, but a great honor and 
privilege to do this, in every way that 
is within its special powers. 



What About Screen Comedy? 

Do you realize that comedy is the 
one branch of optic entertainment which 
is almost virgin soil? Are we to have 
"situation" comedies as such comedy is 
found in plays and 'books — or must we 
forever depend upon oddities, antics and 
pretty girls who Hooverize 'their 
clothes? An intensely interesting story 
by a man who knows more about screen 
comedy from the side-lines than any 
other living individual — Harry C. Carr. 



The Dominant Race 

What land has contributed more 
screen players, and writers, than any 
other on the face of the globe? It's 
almost a monopoly, and it's a singular 
fact for which there seems to be no ac- 
counting. In October, the story — and 
the proofs. 



Is There a Dishonor Roll? 

What have we done in the War? Are 
we carrying our burden as we should ? 
It has been charged that the stage is 
one hundred percent patriotic, while 
the screen is not. A serious story that 
faces facts squarely. 





Contents — Continued 



i 



The Little Angel in the Home 

We Have One in Every Good Sob Fillum. 

Do You Believe in Fairies? Jerome Shorey 

You Should After Reading the Romantic Fortune of Lila Lee. 

The Eagle's Eye f Fiction) Courtney Ryley Cooper 

Conclusion of the Secret Service Serial. 

As an Engineer He Was a Darned Good Actor 

Speaking of Robert Gordon, Hero of "Missing." 

The Four Doors Susie Sexton 

The Keys That Open the Way to the Spectator's Emotions. 

Scare 'Em or Make 'Em Laugh! "Smiling Bill" Parsons 

The Rotund Comedian Tells How He Does It. 

A Dog That Pays an Income Tax Grace Kingsley 

Teddy, Sennett's Star Canine. 

Old Hart well's Cub (Fiction) Frances Denton 

Story Version of the Filmplay. 

Close-Ups Editorial Expression and Timely Comment 
She Never Worked for Griffith Randolph Bartlett 

Marguerite Snow of "The Eagle's Eye" is Original. 

Colonel Mary (Picture) 

They Call Her Regiment "Mary's Lambs." 

Grand Crossings Impressions 

Dorothy Gish, the "Little Disturber." 

Why-Do-They-Do-It? 

Your Department — Jump Right In! 

The Photoplay League of America 

An Important Announcement, by the Editor. 

Pauvre Enfant ? Merci — Non ! 

Madge Evan's Is Anything But Pallid. 

The Shadow Stage Randolph Bartlett 

Reviews of the Current Productions. 

Charles, Not Charlie Julian Johnson 

Observing the Great Actor from a New Angle. 

Educational Films 

Devoted to an Important Phase of Motion Pictures. 

Plays and Players Cal York 

News and Pictures from the Studios. 

The Five Funniest Things in the World Homer Croy 

Tricks Used by Successful Comedy Directors. 

A Blue-Ribbon Baby Adela Rogers St. Johns 

That Was What Roy Stewart Was Once Considered. 

May Allison Is Back Marjorie Manners 

For Which We Have the War to Thank. . 

Mrs. Mills' Many Husbands 

In Justice to Mrs. Mills, Hurry and Read the Story. 

Without Benefit of Custard 

Juanita Hansen Has Graduated from Comedy. 

The Family Name Is Blythe 

And the Offspring in Question Is Named Betty. 

Stars of the Screen and Their Stars in the Sky Ellen Woods 

The Fortunes of the Players As Told from the Stars. 

"Mosquitoes and Directors Keep Out" (Pictures) 

Concerning a REAL Vacation, and Bessie Love. 

Questions and Answers The Answer Man 

Answers to July Picture Puzzles 



46 

47 

49 

57 

58 

61 

62 

63 

67 
69 

71 



Delight Evans 72 
73 



75 

76 

77 

81 

84 

86 

90 

93 

95 

97 

98 

99 

100 

101 

107 
119 



Next Month 

Who is the Best-Dressed Actor — 

— the man in the film, or the man in 
the footlights? While the theatre has 
for half a century been accepted as the 
criterion of fashion, here is proof — in an 
absorbingly interesting account by the 
modest young man responsible for the 
attire of three-fourths of the motion- 
picture gentlemen — that the crown has 
passed from the night to the daylight 
stage. 



A Dramatist Who Found Himself 

What js more interesting than a hu- 
man document — the story of a man 
who triumphs in expression only after 
an heroic struggle with his medium? 
We're wondering why this account has 
never been printed before; it's the true 
narrative of a celebrated American play- 
wright, who, retiring with a comfortable 
fortune at middle age, discovered that 
spoken lines no longer lured him. He 
threw himself into picture-writing with 
all the enthusiasm of youth — and today 
he is one of the most successful Amer- 
ican scenario-writers. 



Photography — The Mile-a-Minute Art 

Do you know that the art of pho- 
tography itself, the great material base 
of all motion picture achievement, is a 
thing as changing as the substance of 
stories and our idea of good acting ? The 
story of American motion picture pho- 
tography is an absolute romance; its 
problems today are as exciting as some 
of the problems of war. One of its 
masters — J. M. Nickolaus — laboratory 
chief of the Triangle Film Corporation, 
will tell you of it in October Photo- 
play. 



Government Activities 

Photoplay for October will give a 
most remarkable showing, on many 
pages, of our government activities in 
the war. It is impossible, owing to 
changing conditions and the momentary 
demands of censorship, to completely 
catalogue these in advance. 



The Shadow Stage 

Julian Johnson, who this month re- 
turns to Photoplay's editorial offices, 
will next month resume his personal 
conduct of the Shadow Stage, Photo- 
play Magazine's department of review. 



Photoplays Reviewed in Shadow Stage This Issue 



Page 78 

Hlt-The-Trail-Holllday Aiteraft 

Her Final Reckoning Paramount 

Social Quicksands Metro 

Good Night. Paul Select 

A Desert Woi lug Paramount 

Pagt 79 

Patriotism Paralta 

Say, Young Fellow Vrtnaft 

How Could You, Jean? irtcrall 

The FIreflj ..i Franci Paramount 

The Soap Girl Vitagraph 

A Woman of Redemption World 

Station Content Triangle 




Page 80 
Madame Sphinx 



.Triangle 



The Last Rebel Triangle 

A Mail's World Metro 

The Whirlpool Se!ect 

The Kaiser's Shadow Paramount 

The Venus Mode] Goldwyn 



Page 102 



The Heart of a Girl World 

v.m Can't Believe Everyth rig Triangle 

To Hell with \\\- Kaiser Metro 

( Ipportunitj Metro 

Sandy Paramount 

Shark Monroe Utcraft 

Tinsel World 

Shackled Paralta 

Smashing Through Universal 

Find the Woman Yitagrah 

Kidder and K Pathe 

We Should Worry Fox 



The Only Road Metro 

The Model's Confession Universal 

The Claw Seleet 

Which Woman Bluebird 

Midnight Madness Bluet rd 

A Little Sister of Everyb dv Paths 

Tlie Voire of Destiny I'athe 

The House of Cold Metro 

Nine-Tenths of the Law Independent 

Her Body in Bond universal 

Hell Rent Universal 

The < ; 1 1 1 in His House Vitagraph 

Closin 1 In .' Triangle 

The Mortgaged Wife Universal 

Tlie Fly Cod Triangle 

The Painted Lily Tr angle 

Tangled Live; Triangle 

One Dollar Rid Paralta 

The City of Tears Bluebird 

Tempered Steel McCTure 



Photoplay Magazine — Advertising Section 




WuRLlTZER 

200 years of instrument 



i 



i.i 



■BSCBSBBR! 



Your Choice Shipped on 
Free Trial 

WURLITZER. sells all musical instruments. You may take your choice of any of the 
instruments in our big, new catalog and we will send it to you for a 'week's free trial. ^Ve want you 
to compare it with other instruments — and to put it to any test. ^Ve want you to use it just as if it 
■were your own. Then, after the free trial, you may decide if you wish to keep it. If you wish, you 
may return it at our expense. No charge is made for using the instrument a we k On trial. 

Convenient Monthly Payments 

If you decide to buy — you may pay the low rock-bottom price in small installments, if vou wish. 10 cents a day 

will buy a splendid triple silver-plated cornet. 45c a day will buy a saxophone. You will find over 2.000 instruments in our catalog from which 

you have to choose. Every one is backed by our guarantee. Every one is offered to you on the same liberal plan — because we know ^— 

that the name which has been stamped on the finest musical instruments for 200 years still stands supreme Wurlitzer has sup- M 

plied the United States Government with trumpets for 55 years. Write today for our new catalog. .^ ... 

/ The Rudolph 

> Wurlitzer Co. 

/* Dept.1^36 

E. 4th St., Cincinnati, O. 
jf S. Wabash Ave.. Chicago 

Send us your name and address on the coupon (.or in a letter or post card) J Gentlemen: — Please send me your 
and get our new catalog. It takes 176 pages to show you the instruments from which f 176-page catalog, absolutely free. Also 

you have to choose. The catalog is sent free, and without obligation to buy. Merely state what instru- Jr tell about your special offer direct from 

meats interest you — and send your name. Don't delay — do it now, f the manufacturer. 

The Rudolph Wurlitzer Co. y/ 

So. Wabash Ave., Chicago Dept. 1536 E. 4th St., Cincinnati, O. jf ^«™<- 

/ 

* Street and *No. _ — 

**S cliy .__ State - 




Send the Coupon 



._ 



lam interested in . 



tName ot instrument here) 



When you write to advertisers please, mention PHOTOPLAY MAGAZINE. 



Photoplay Magazine — Advertising Section 



Women of America 

You, too, are called to the Colors 

The Government calls upon you to prepare for War Service, offers you the 
opportunity to fight for liberty and freedom side by side with the men of the nation. 

The Service to which you are summoned is not easy in any way — it requires 
endurance, singleness of purpose, devotion and utter disregard of personal desires 
and pursuits. 

The Governmentplaces in your hands a great responsibility in the full expecta- 
tion and belief that you will let nothing weigh in the balance against the fact that 

Your Country Needs You 



Many thousands of graduate nurses have been 
withdrawn from civilian practice for military duty. 
There is urgent need for many more with our 
fighting forces over seas. Unless more nurses are 
released from duty here our wounded men over 
there will suffer for want of nursing care. And 
they cannot be released without your help. 

The nation must have 25,000 student nurses tfonxi if we 
are to fulfill our duty to our sons who offer their bodies as a 
bulwark between us and our enemies. Every young woman 
who enrolls in the United States Student Nurse Reserve wiii 
relieve a graduate nurse, and at the same time will swell the 
home army upon which we must rely to act as our second line 
of hospital defense. 

Will You Accept the Opportunity and Responsibility? 
The call is for women between the ages of nineteen and 



thirty-five. Intelligent, responsible women of good education 
and sound health are wanted to enroll as candidates for the 
Army School of Nursing, established under the authority of 
the Surgeon-General, with branch schools in the Military 
Hospitals, or to enroll as engaging to hold themselves in 
readiness until April 1st, 1919, to accept assignments to 
civilian nurses' training schools. Those who enroll will be 
sent at the beginning of the autumn and spring terms. Not 
every one who enrolls may be accepted; those of superior 
qualifications will have the preference. 

There are 1579 nurses' training schools in the country. 
Some of these schools do not require even a full high-school 
education. On the other hand, a college education is a valu- 
able asset, and many hospitals will give credit for it. Credit 
will also be given for special scientific training, or for pre- 
liminary training in nursing, such as that given in special 
courses now being conducted by various colleges and schools. 



Enroll in the Student Nurse Reserve 



Women who enroll in the United States Stu- 
dent Nurse Reserve will be assigned to these 
schools as vacancies occur. The term of training 
varies from two to three years. No course takes 
less than two years nor more than three. 

Every women who completes the training course 
satisfactorily may be eligible for enrollment as a 
Red Cross Nurse and for Service with the Army or 
Navy Nurse Corps and stands a chance of being 
assigned to duty abroad. At the same time she 
will be qualified to earn her living in one of the 
noblest professions open to women. And it should 
be remembered that practical nursing is part of 
the work of every training school and the student 

For further information or for enrollment apply at the n 
Committee of the Council of National Defense. If 
Station, write for information to Council of National 

Anna Howard Shaw, Chairman 

Woman's Committee, Council of National Defense 

W. C. Gorgas 

Surgeon General United States Army 



is not only learning but serving her country from 
the outset. 

Board, lodging and tuition are free at most 
training schools, and in many cases a small renumera- 
tion is paid to cover the cost of books and uniforms. 

The nation needs every nurse it can get to 
"keep up with the draft." The United States 
Student Nurse Reserve is the equivalent for women 
of the great national army training camps for 
soldiers. The nation will rely upon the student 
nurses to fight disease at home, to care for those 
injured and disabled in our hazardous war industries, 
and to make themselves ready to serve when the 
time comes as fully trained nurses, either abroad or at home. 

earest Recruiting Station established by the Woman's 
you do not know address of your local Recruiting 
Defense, Woman's Committee, Washington, D. C. 

H. P. Davison, Chairman 

War Council, American Red Cross 

Dr. Franklin Martin, Chairman 

General Medical Board, Council of Nat.onal Defense 



UNITED STATES STUDENT NURSE RESERVE 



Contributed through 
Division of Advertising 




U. S. Gov't Comm. on 
Public Information 



This space contributed for the Winning of the War by 

THE PUBLISHERS OF THIS MAGAZINE 



Every advertisement .n PHOTOPLAY MAGAZINE is guaranteed. 



Photoplay Magazine — Advertising Section 



Uhe Secrets of 
distinctive Vress 



WHAT is the secret of Petrova's charm ? 
Have you ever tried to analyze it ? The 
other evening I overheard two charm- 
ingly gowned women discussing this very 
question, as they came out of the theatre. 
One of them is the proprietor of an exclusive 
Fifth Avenue dressmaking establishment and 
for that reason her opinion was especially 
interesting to me. 

"Petrova's charm," she was saying, "lies 
first of all, of course, in her art as a great 
actress. But blended with that is the charm 
of her fascinating personality. And she gives 
expression to that personality not only through 
the mediums of facial expression and a super- 
lative degree of grace, but also through dress. 
Her gowns are invariably distinctive. They 
are the last word in their expression of pre- 
vailing fashions, and yet there is an indi- 
viduality about them that makes them also 
an expression of Petrova herself. This is the 
secret of their distinctive character. They 
express Petrova's individuality because she 
herself understands dress as few women un- 
derstand it. She knows just the little touch, 
the change in line that makes a gown dis- 
tinctively becoming to her." 

And now that you think about it, don't 
you see that that clever modiste was absolutely 
right? Did you ever notice the difference in 
the appearance of women you meet on the 
street, in the stores and shops, at church, in 
the theatre or wherever you go? Always 
there are a few dressed so attractively, so 
faultlessly in taste that you cannot help ad- 
miring them. 

These women often have no advantage in 
beauty over other women. Their advantage 
lies solely in the fact that they know and 
apply the principles of artistic design, color 
harmony, becoming style and countless other 
secrets of personal attractiveness to express 
their individuality and make them always 
appear at their very best. 

What would it mean to you to be able to 
express your own individuality in dress? 
Wouldn't you appreciate the satisfaction of 
knowing that every article of your attire is 
always becoming as well as stylish — an ex- 
pression of yourself? I know you would 
and that is why I am sure you will welcome 
this news I have for the readers of Photoplay: 

After long and painstaking study, with the 
help, advice and endorsement of creators and 
leaders of fashion, Mary Brooks Picken, her- 
self one of America's greatest authorities on 
dress, has written a wonderful book. It is 
called "The Secrets of Distinctive Dress," 
and it is brimful from cover to cover with 
intimate facts about the style, design and 
harmony of fashionable dress — little knacks of 
faultless taste — guarded secrets of fascinating 
women — and the principles underlying the 
development of social ease, grace, beauty and 
personal charm ! 

With the knowledge this book imparts so 
clearly, concisely and completely, any wom- 
an or girl, no matter where she lives, can 
become familiar with the beauty secrets of 
the world's best-dressed and cleverest women, 
and learn the fundamental principles of com- 
pelling admiration, attracting friends and de- 
veloping a charming personality. For in this 
remarkable book all these things have been 
reduced to simple, practical rules that any 
woman can understand and apply.. 

The Secrets of Distinctive Dress" holds 
a message for you. If you have beea spe- 




cially favored with natural 
grace and beauty of feature, 
this book will show you how 
to enhance your attractive- 
ness. Or if you feel that you 
are "plain looking," if you 
have some little defects of 
figure, feature or complexion, 
if you realize that you do not 
make friends as rapidly as you 
should, if you are inclined to 
be backward, ill at ease in 
company and less popular 
than you would like to be, 
you can learn from "The 
Secrets of Distinctive Dress" 
just how to overcome these 
handicaps. 

This book is so important, 
it can mean so much 
helping every woman and girl 
to always appear charming 
and attractive, that the pub- 
lishers want every woman to 
see and examine it for herself 
— without obligation or ex- 
pense — in her own home. I 
have been authorized by them 
to say to readers of Photoplay 
that by merely filling out and 
mailing the coupon 
below, you can 
examine this new 
book in your own 
home for three days with 
out sending a single penny in 
advance. If at the end of that 
time you feel that you can afford to be with- 
out its constant help and aid, return it and 
you will be under no obligation whatever. 
If you want to retain it for your own, send 
only $2 and the book is yours. 



Would You Like to Know- 



How to develop poise ? 

What you should do to 
counteract defects in 
your personal appear- 
ance ? 

What kind of corset will 
give you graceful lines 
and yet be entirely 
comfortable ? 

How to observe the fun- 
damental laws of beau- 
ty and good health ? 

How to bring out the 
beauty of your eyes, 
hair, etc. ? 

How you may have a 
beautiful complexion ? 

How you can dress to give 
your cheeks more color? 

How to know your own 
good and bad features? 

How to master the princi- 
ples of style and dress 
harmony ? 

How to select the 
models best suited to 
your personality ? 

How to add just the 
needed touch to an or- 
dinary, plain dress ? 

What dress accessories 
mean to the woman of 
refinement ? 

How the best dressed 
women wear jewelry ? 

What errors to avoid in 
choosing waists — skirts? 

How to dress most appro- 
priately for your work ? 

These and hundreds of other questions 
associated with the cultivation of personal 
charm and attractiveness are answered by 
this wonderful book which you can examine 
—without obligation or expense— by merely 
filling out and mailing the coupon ! 



How to acquire a winning 
personality? 

How to express your in- 
dividuality in dress ? 

How to always appear at 
your best i 

How to win admiration f 

What colors bring out 
your best features ? 

Whether you should dress 
your hair high or low ? 

How to make your hands 
add to your attractive- 
ness? 

How to make yourself 
appear taller or shorter? 

What kind of dress will 
give you a fashionable 
figure ? 

How to attract friends? 

How to be sure your at- 
tire is faultlessly cor- 
rect ? 

How to make yourself ap- 
pear more slender ? 

How to acquire a graceful 
carriage i 

What is the first essential 
of faultless dress? 

What kind of clothes 
make you seem younger? 

How to become graceful 
and always at ease ? 

How to dress appropri- 
ately for all occasions? 

What colors harmonize 
perfectly in a costume ? 

How the most refined 
women use perfume ? 



Madame 

Olga 
Petrova 



"The Secrets -~f Distinctive Dress" is a 
handsome volume of generous size, 250 pages 
beautifully printed and bound in cloth with 
gold stamped covers, a book you will be proud 
to have in your library or for daily reference 
and use in your boudoir. It is safe to say 
that never before was a book so vitally im- 
portant and so beautifully published, offered 
to women through such a liberal offer. 
Remember that it does not cost you a penny 
to see it with your own eyes, to keep it for 
three full days and learn at first hand just what 
it can mean to you before you have to decide 
whether you will own it. 

You do not even need to write a letter. 
Just fill out and mail the convenient coupon 
below and this handsomely bound, beautifully 
illustrated, wonderfully instructive and helpful 
book will come to you, postpaid, by return 
mail. 

When the secrets of attractive distinctive 
dress and charming personality are so easily 
within your reach, why go another day without 
them? Write your name and address on the 
coupon no-Tv. 

y/////////////////////////r///////////«//////«////«//y» 

WOMAN'S INSTITUTE 
Dept 217-J, Scranton, Penna. 

Please send me, all charges prepaid, a copy 
of "The Secrets of Distinctive Dress." I 
promise to send you two dollars ($2.00) or 
return the book within three davs. 



Same- 



Address- 



When you write to advertisers please mention PHOTOPLAY MAGAZINE 



IO 



Photoplay Magazine — Advertising Section 




^^^^^^^^^^^^^^^^^^^M l 



"You Have It In You" 

IF you like to draw, you have it in you to become a great cartoonist. 
There are opportunities every day in newspaper illustrating. Your 
salary will depend entirely upon how hard you work and how 
completely you have learned from the experience of others. Several of 
the Advisers on the Staff of the Federal School of Applied Cartooning 
make more than $100 a day. In this field there" are just as many oppor- 
unities for women as for men. 

The Federal Course gives you the benefit of the experience of 
America's 31 greatest cartoonists. You study,from the experience of 
McCutcheon of the Chicago Tribune, Briggs, the originator of "When a 
Feller Needs a Friend " and "Skinnay," Herb Johnson of the Saturday 
Evening Post, Sid Smith, the creator of "Doc Yak" and the 27 
other leaders. 

"A Road to Bigger Things" 

We have prepared a booklet showing studio pictures of these great 
cartoonists. It tells how they took advantage of their opportunities and 
describes the Federal Course in detail. We will send this to you for 
6 cents in stamps if you will write us at once. Don't put this matter 
off just because it is summer. Now is the time to make your plans. 

Simply write, "Please send by return mail your booklet 'A Road 
to Bigger Things,' " and address your letter to: 

Federal School of Applied Cartooning 

898 Federal Schools Building Minneapolis, Minn. 



a 




P-i$1.00 

Postpaid 



SEXUAL 
KNOWLEDGE 

ILLUSTRATED 

By WINF1ELD SCOTT HALL. M.D., Ph.D. 
SEX FACTS MADE PLAIN 

What every young man and 
Every young woman should know 

What every young husband and 
Every young wife should know 

What every parent should know 
Cloth binding — 320 pages — many illustrations 

Table of contents and commendations on request 



Mailed in plain 

wrapper 
American Pub. Co., 930 Winston Bldg., Philadelphia 



MUSIC In Your Home PKEE 



By the Oldest and Most Reliable School of Music 
in America— Established 1895 



Piano, Organ, Violin, Mandolin, Guitar, Banjo, Etc. 




*Jou cxvn w-cjloL IUuaaa ItfUlfui cjuit^ 



Beginners or advanced players. One lesson weekly. Illus- 
trations make everything plain. Only expense about 2c 
per day to cover cost of postage and music used. Write 
for Free booklet which explains everything in full. 
American School of Music, 68 Lakeside Btdg., Chicago 



^ Who will write the 

bON<i HIFh'eWAR? 



With this country entering its second year in tha 
"World War" it is doubtful if the song which will be 
known as the "Hit of the War." has as yet made its 
appearance. While it is true that such War Songs as 
"Over There" and "Liberty Bell" have made some im- 
pression, have Our Boys adopted another "It's A Long 
Way To Tipperary." which has been the great favorite 
with the "English Tommies"? Inasmuch as several 
Commanders of our training cantonments have requested 
boys in the service to write such a song, it appears to 
be still wanting. 

Have you an idea which you think might be used as 
the subject for a Patriotic or War Song? If so. you 
may secure some valuable information and assistance by 
writing for a Free Copy of our new booklet entitled 
"SONG WRITERS' MANUAL AND GUIDE." We 
revise song-poems, compose and arrange music, secure 
copyright and facilitate free publication or outright sale. 

Poems submitted examined FREE. 
KNICKERBOCKER STUDIOS 86Baiety Bldg., N. Y. C. 



m\ i i in T ^ * '' rat Lid ■rIr/ 1 f:rH'ii wM 



We write music and guarantee publisher's accept- 
ance. Submit poems on war, love or any subject. 
CHESTER MUSIC COMPANY 

638 South Dearborn Street. Suite 251 CMICAOO. ILLINOIS 



What $1 Will 
Bring You 

More than a thousand 
pictures of photoplay- 
ers and illustrations of 
their work and pastime. 

Scores of interesting articles 
about the people you see 
on the screen. 

Splendidly written short 
stories, some of which you 
will see acted at your mov- 
ing picture theater. 

The truth and nothing but 
the truth, about motion 
pictures, the stars, and the 
industry. 

You have read this issue of 
Photoplay so there is no neces- 
sity for telling you that it is one 
of the most superbly illustrated, 
the best written and the most 
attractively printed magazine 
published today — and alone 
in its field of motion pictures. 

Slip a dollar bill in an 
envelope addressed to 

Photoplay Magazine 

Dept. 7-0, 350 N. Clark St., CHICAGO 

and receive the October issue 
and five issues thereafter. 



PHOTOPLAY MAGAZINE 

Department 7-0 
350 North Clark Street, CHICAGO 

Gentlemen: I enclose herewith $1.00 (Can- 
ada $1.25) for which you will kindly enter my 
subscription for Photoplay Magazine for 
six months, effective with the Oct , 1918, issue. 



Send to. 



Street Address. 



City . 



State . 



Every advertisement in PHOTOPLAY MAGAZINE is guaranteed. 



Photoplay Magazine — Advertising Section 



T I 




(Soldwy n|ppctur<28 





Per<rona(iiies and Productions 

Goldwyn Pictures are produced to appeal to America's quality audiences. 
They are beautifully constructed and directed under the watchful eyes of 
dramatic and technical masters. They are wholesome and clean. They 
have won the approval of audiences in the large cities and small towns 
throughout the nation. 

Offering the great stars whose pictures surround this announce 
At. merit, and with other stars to be announced, Goldwyn / 
naturally lays tremendous emphasis upon the power 
and the quality of the stories selected for such i 
\ important artists. 



Throughout the coming year you, as a patron > 
of the theatre, will be able to accept the 
words "It's a Goldwyn Picture" as de- 
noting perfection in entertainment on 
the screen. 



GOLDWYN PICTURES CORPORATION 



Samuel Goldfish.' Pmritfent 
16 East 4-2k^ Street 



EDCAR SELWYN. Vice President 

New York City 



Pex 
Beach 




I 





««** 



Jlfarsfi 



Jfadcfe Jipnnedy 



Jom Moore 




When yon write eo advertisers please mention photoplay m.\GAZI.\i;. 



12 



Photoplay Magazine — Advertising Section 



-••''fliimii 



-nf 



Stars 

of the 

Photoplay 



Reduced to 25c per copy 
while this edition lasts 



Walton, N. Y. 
I am more than delighted 
with my copy of "Stars." 
Enclosed find 50 cents for 
another. Really I wouldn't 
miss it if I had to pay $5 for 
it. Everyone that comes to 
our house wants one. 

Jennie North. 



Port Royal, S. C. 
Received "Stars of the Pho- 
toplay," and wish to say a 
better collection could not 
have been gotten. Am more 
than pleased with same. 
Thank you very much indeed 
for publishing such a beauti- 
ful book. Sincerely, 

George Guido, 

U. S. Marine Band. 



Chicago 
Many thanks for the book. 
"Stars of the Photoplay." 
This is certainly a fine collec- 
tion of photographs, and is 
well worth 50 cents, especially 
when it is remembered that 
this amount alone is charged 
for a single photo by many of 
the stars themselves. 

ROBT. S. COLLINS. 



Handsomely bound De Luxe Edition, latest 
Photographs of the Leading Motion Picture 
Artists, containing a clear and comprehensive 
sketch of their career. 

One hundred Art Portraits printed on high qual- 
ity, glazed paper. For reference the De Luxe 
Edition has no equal. Obtained only through 

Photoplay Magazine 

Thousands of copies sold at the former price 
of fifty cents and considered well worth it. 
Read what some enthusiastic purchasers have 
said about this remarkable volume. 

Mail us the coupon below properly filled out, 
together with 25c, stamps, money order or 
check, and a copy will be sent prepaid parcel 
post to any point in the United States or Canada. 

Photoplay Magazine 

DEPT.O, 350 N.CLARK STREET, CHICAGO 



Money cheerfully refunded if Edition 
does not meet with your entire satisfaction 



PHOTOPLAY MAGAZINE 

Dept. O, 350 N. Clark Street, CHICAGO, ILL. 

Gentlemen: Enclosed please find •, M.tf. J- for 25c, for which 



you may send me one copy of 



f Stamps ) 
M. C. > 
Check J 

Stars of the Photoplay. 



Name . 



Address. 



Every advertisement in PHOTOPLAY MAGAZINE is guaranteed. 



Photoplay Magazine — Advertising Section 



13 



HE'S gone across — 
YOU "come across"! 



Adopt a SOLDIER 
and Supply him with 
"SMOKES" for the 

Duration of the WAR! 



YOU know that our fighting men are 
begging for tobacco. Tobacco cheers 
them. They need it. "Send more 
cigarettes." "We can't get half enough 
smokes over here." "A cigarette is the 
first thing a wounded man asks for" — 
almost every mail brings many thousands 
of such requests. • 

Let's "come across." Now that our 
boys are suffering anddying in the trenches 
that we may be safe at home, let's keep 
them steadily supplied with the smokes 
they crave, need and must have. 

$1.00 a Month Keeps a Soldier 

Supphed-Will YOU Be a "BIG 

BROTHER" or a "BIG SISTER" 

to a Lonely Fighting Man? 

Please don't say, "Oh, there's plenty of 
time, I'll send my contribution later." 
Dig down for his tobacco cheer now, today ! 
— all that you honestly feel you can spare. 
And that can't be half what he really de- 
serves, for his service can't be measured 
by dollars. Adopt a regiment if you have 
the means. 

A War Souvenir For You 

A feature of this fund is that in each 
package is enclosed a post card addressed 
to the donor. If it is possible for the 
soldier receiving the tobacco to mail you 
this post card receipt, it will be a war 
souvenir you'll treasure forever. 

Every dollar sends four 45c packages of 
tobacco. Mail the money and coupon 
right now. 

'.'OUR BOYS IN FRANCE TOBACCO FUND" 

25 West 44th Street, New York City 

Depository: Irving National Bank, N. Y. 

"I wish you all possible success in your admirable 
effort to get our boys in France tobacco." 

THEODORE ROOSEVELT 



Endorsed by 



The Secret a iv of War 
The Secretary of the Navy 
The American Red Cross 
Cardinal Gibbons 
Lyman Abbott 



Rabbi Wise 
Gertrude Atherton 
Theodore Roosevelt 
Alton B. Parker 
and the entire nation 




"OUR BOYS IN FRANCE TOBACCO FUND" 
25 W. 44th Street, New York 

Gentlemen: I want to do my part to help the 
American aoldiere who arc righting my battle in 
France. If tobacco will do it — I'm for tobacco. 
(Check below how you desire to contribute.) 
I enclose $1.00. I will adopt a soldier and send you 
$1.00 a month to supply him with "smokes" for the 
duration of the war. 

I send you herewith my contribution 

towards the purchase of tobacco for American sol- 
diers. This does not obligate me to contribute more. 

Name 

Address 



"Fin as Good a Man as Jim!" 

"They made him manager today, at a fine increase in salary. He's the 
fourth man in the office to be promoted since January. And all were 
picked for the same reason — they had studied in spare time with the 
International Correspondence Schools and learned to do some one thing 
better than the rest of us. 

"I've thought it all out, Grace. I'm as good a man as any one of them. 
All I need is special training — and I'm going to get it. If the I. C. S. can 
raise other men's salaries it can raise mine. If it can bring a better home 
with more comforts to Jim and his family it can do it for us. See this 
coupon? It means my start toward a better job and I'm going to mail 

it to Scranton tonight!" 

Thousands of men now know the joy 
of happy, prosperous homes because 
they let the International Correspondence 
Schools prepare them in spare hours for 
bigger work and better pay. You will find 
them in offices, shops, stores, mills, mines, 
factories, on railroads, in the army and 
navy — everywhere. 



Some Facts About the 
World's Greatest School! 

The first student was enrolled in the International 
Correspondence Schools on October 16, 1891. 

Today the records of the Schools show an enrolment 
of over two million. 

This is over six times greater than the total enrol- 
ment of Harvard in the 278 years since its organization. 

It is more than ten times greater than the total en- 
rolment of Yale since its doors swung open in 1701. 

It is over five times the total enrolment of all col- 
leges, universities, and technical schools in the United 
States combined. 

I. C. S. text -books are used In class-room work 
and for reference purposes by 304 universities, colleges, 
government schools, institutes of technology and voca- 
tional schools, by the U. S. Navy Department in its 
Shipboard Training Schools and by many of the largest 
industrial corporations. 

About 500 students each month report advancement 
or salary increases as a result of the I. C. S. training. 
Reports of 1,000 typical students show that at time of 
enrolment their average monthly wage was $53.80. At 
the time they most recentlyre ported advancement their 
average wage was $182. 48 per month, an increase in earn- 
ingpowerof $128. 58 per month through!. C. S. Training. 

Reports on. 27,000 typical students show 14.999 now 
receiving$l,50 f >ayear or more; 2,451 receiving $2,500 or 
more: 413 receiving $5,000 or more; 20 receiving $10,000 
or more; and 8 with annual incomes of $25,000 or more. 



Note the number of I. C. S. 
Students in your State 



State Number 

Alabama 13,920 

Alaska 1,560 

Arizona 9,440 

Arkansas 8,600 

California 80,840 

Colorado 35,060 

Connecticut 34,140 

Delaware 4,600 

Dist. of Columbia.. 9,280 

Florida 9,780 

Georgia 9,480 

Idaho 10,720 

Illinois 296.840 

Indiana 55,520 

Iowa 40,100 

Kansas 36.000 

Kentucky 9,780 

Louisiana 11.680 

Maine .. 22,460 

Maryland 21,680 

Massachusetts 83,040 

Michigan 69,'40 

Minnesota 32,480 

Mississippi 6.400 

Missouri 53,020 



State > 

Montana 

Nebraska. 

Nevada 

New Hampshire... 

New Jersey 

New Mexico 

New York 

North Carolina 

North Dakota 

Ohio 

Oklahoma 

Oregon 

Pennsylvania 

Rhode Island 

South Carolina 

South Dakota 

Tennessee 

Texas 

Utah 

Vermont 

Virginia 

Washington 

West Virginia 

Wisconsin 

Wyoming 



umber 
14.700 
18,240 

4.800 
12,760 
63.560 

6.760 
217,040 
134,700 

6,600 
116,200 

8,320 
15,600 
170,720 
13.380 

8,720 

6.760 
15.020 
39.520 
16,420 

7,880 
21.500 
37,160 
20.960 
42,320 

6,0f0 



Navy, 15,000 Total, 2,007,080 



Why don't you study some one thing and get 
ready for a real job, at a salary that will give your 
wife and children the things you would like them 
to have. You can do it! Pick the position you 
want in the work you like best and the I. C. S. will 
prepare you for it right in your own home, in your 
spare time— you need not lose a day or a dollar 
from your present occupation. 

Yes, you can do it! More than two million have 
done it in the last twenty-seven years. More than 
100,000 are doing it right now. Join them without 
another day's delay. Mark and mail this coupon ! 

rrNTER^fi0N^ T C A n RRESP0NDENCE SCHOOLS* 

BOX 6488, SCRANTON. PA. 

I Explain, without obligating me, how I can qualify for 
the position, or in the subject, before which 1 mark X. 



D ELECTRICAL ENGINEER 

3 Electric Lighting and llys. 

I] Electric Wiring 

I] Telegraph Engineer 

^Telephone Work 

3 MECHANICAL ENGINEEH 

U Mechanical draftsman 

ID Machine Shop l'ractlce 

IJGas Engine Operating 

DCIVIL ENGINEER 

D-Siirrerlng and Mapping 

JMIKE FOREMAN or ENU'K 

ZjMetallorgist or Prospector 

DSTATIOKAUY HUM HI 

3 Marine Engineer 

DShip Draftsman 

' ARCHITECT 

3 Contractor and Rntlder 

3 Architectural Draftsman 

R Concrete Builder 
Structural Engineer 

3 PLUMBING AMI III VI INS 

DSheet Metal Worker 
3 Textile I >> erseer or Snpt. 
UOIIEMIST 



Name. 



□ SALESMANSHIP 

□ ADVERTISING 

□ Window Trimmer 

□ Show Card Writer 

□ Sign Painter 

□ Railroad Trainman 

□ ILLUSTRATING 

□ Cartooning 

□ BOOKKEEPER 

□ Stenographer and Typist 

□ Cert. Pub. Accountant 

□ TRAFFIC MANAGER 

□ Railway Accountant 

□ Commercial Law 

□ GOOD ENGLISH 

□ Teacher 

C Common School Sohjeets 

□ Mathematics 

□ CIVIL SERVICE 

□ Railway Mail Clerk 

□ automoiiile on it him. 

□ Anto Repairing 

□ Navigation IDSpanlib 

□ AGHICUl.TUkF. iQFrench 

□ Poultry Railing ■□Italian 



Present 
Occupation- 
Street 
and No 



City. 



Canadians may a 

International COrTeaponuen 



\nd this coupon to 

■e Schools, Montreal, Canada 



When you write to advertisers please mention PHOTOPLAY MAGAZINE. 



H 



Photoplay Magazine — Advertising Section 



This 
Money 
Maker 



Sold on 

Easy 
Payments 




EARNS BIG PROFITS 

This attractive, sanitary machine draws 
the trade and makes money fast — in 
stores, on street corners, in theater or 
hotel lobbies, near picture shows, baseball 
parks, amusement resorts, etc. 

Bartholomew 

Pop -Corn and Peanut Machine 

is coining money for thousands of men and 
women. You can make money, too — right in 
your own town, with this wonderful machine. 

Write Quick for Free Book 

Low Prices — Easy Payment Plan 

. It fully describes our complete line of Bartholomew 
Pop-Corn Machines and Peanut Roasters for store 
and street use. 

BARTHOLOMEW CO., 1003 Heights St., Peoria, 111. 




"BE M ART! 

(< >v W e can teach y on 

, ' A y X DRAWING 



foot own 
home dur- 
ing spare 

Our 18 ^ tun8 
years of Buccess 
f ul teaching prove 
our ability. 

10 Courses In Com- 
mercial and Illus- 
trative Drawing 
Endorsed by high 
art authorities. 
Students trained by members of 
our Faculty are filling high-salaried 
positions. Artist's Outfit FREE 
to Enrolled Students. 
Write today for Art Tear Book 





oun 
Handsome; 

Yearbook 
FREE-roifJ 



SCHGDlf'APMIED AfcT 

ROOM NO. 9 BATTLE CHEEK MICH 





a Month 



2L 
__^_ . The master- 
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manufacture — adjust. 
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^t perature and isochronism. En- 
I cased at factory into your choice 
I of the exi «a isi te new watch cases. 

21Jewel 
Burlington 

The great Burlington Watch sent on simple request. 
Pay at rate of $2.50 a month. You get the watch at 
thesame price even the wholesale jeweler must pay. 

Write Today for Free Watch Book 

See handsome color illustrations of all the newest 
designs in watches that you have to choose from. 
Your name and address on a postcard is enough. 
Get this offer while it lasts. Write today. ' 

BuHjn^loriWak^UlepU^ 



All sizes/or both 



"Don't Shout" 

"I hear you. I can hear 
now as well as anybody. 
'How'? With the MORLEY 
PHONE. I've a pair in my ears 
now, but they are invisible, 
would not know I had them 
myself, only that 1 hear 
"The MORLEY PHONE 




[lasses are to the eyes, 
^visible, comfortable, 
less and harmless. Anyone 
can adjust it." Over 100.000 sold. Write for booklet and testimonials. 
THE MORLEY CO., Dept. 789, Perry Bldg., Phila. 




CLASSIFIED ADVERTISING 



Yri..n 



Rate 
15 cents 

per 
word 



TUU 



1LLL& 




trurr 



nnahrmnn 



rvnrvn 



All Advertisements 

have equal display and 
same good opportuni- 
ties for big results. 



PHOTOBiay 




firm ..n.nn it ry 



rawOTiTf 



This Section Pays. 

84°/o of the advertisers 
using this section during 
the past year have re- 
peated their copy. 



PHfiEfjAy 



Rate 
15 cents 



U.U.U'U.UU ' U UUUU UUU UUIJU 




FORMS FOR NOVEMBER ISSUE CLOSE SEPTEMBER FIRST 



AGENTS AND SALESMEN 



AGEN'TS— 500% PROFIT; FREE SAMPLES; GOLD 
sign' letters for store and office windows; anyone can 
put on. Metallic Letter Co.. 414 N. Clark St., 
Chicago. 

TELL TIIE READERS OF PHOTOPLAY WHAT 

you have of interest to them. You can reach them 
at a very small cost through an advertisement in the 
classified section. 84% of the advertisers using this 
section during the past year have repeated. The section 
is read and brings results. 

AGENTS— HO-RO-CO MEDICATED SKIX & SCALP 

Soap and Toilet Goods Plan beats everything for agent's 
nruflts. "Hb-Ro-Co," 138 Locust St., St. Louis, Mo. 



AUSTRALIA — AGENCIES DESIRED, USEFUL 
lines, live business and introductions. Send full particu- 
lars. Southern Agencies, Adelaide, Australia. 

AGENTS: WATERPROOF KITCHEN APRON. 
Needs no laundering. Every housewife buys. Dainty, 
durable, economical. Big money. Sample free. Thomas 
Co., 2164 North St., Dayton, Ohio. 

BOOKS 

HERE IS AN OPPORTUNITY TO GET HAROLD 
MacGraih's famous book "The Adventures of Kathlyn" 
containing 374 pages, illustrations made from actual 
photographs. Regular dollar book now only thirty-five 
cents. This is a special limited offer. Our Supply of 
these books is very limited. Order your copy today. 
R. Meskin, 350 N. Clark St., Chicago, 111. 

HELP WANTED 

WOMEN TO SEW. GOODS SENT PREPAID TO 

your door; plain sewing; steady work: no canvassing. 

Send stamped envelope for prices paid. Universal Co., 
Dept. 21, Philadel phia. Pa. 

GOVERNMENT PAYS $900 TO $1,800 YEARLY. 
Prepare for coming "exams" under former Civil Service 
Examiner. New Book Free. Write Patterson Civil Service 
School. Box 301". Rochester, N. Y. 

WANTED ^MEDIATELY— U. S. GOVERNMENT 
wants thousands men — women, 18 or over for war posi- 
tions. Easy clerical work. $100 month. List positions 
open free. Write immediately. Franklin Institute. Dept. 
S-20U, Rochester, N. Y. 

WANTED TEN BRIGHT CAPABLE LADIES TO 

travel, demonstrate and sell known goods to established 
dealers. $25.00 to $50.00 per week; railroad fare 
paid; weekly advance for traveling expenses. Address at 
once Goodrich Drug Company, Dept. 59, Omaha, Nebr. 

PATENTS 

WANTED IDEAS, WRITE FOR LIST OF PATENT 

Huyers and Inventions Wanted. $1,000,000 in prizes 
offered for inventions. Send sketch for free opinion as 
to patentability. Our tour books sent free. Victor .1. 
Evans & Co.. Patent Attys., 763 Ninth, Washington, 
P. C. 

INVENT SOMETHING. YOUR IDEAS MAY BRING 

wealth. Send Postal for Free book. Tells what to 
invent and how to obtain a patent through our credit 
6ystem. Talbert & Talbert, 4724 Talbert Building, 
Washington, D. C. 



WAR SOUVENIRS 



OVER THERE, 3 YEARS, SOLDIER, WOUNDED, 
gassed; has few German bullets picked up on the bat- 
tlefield in France in case with the photograph of one 
man who came back. Write T. B. Eardley. Great 
War Veterans' Club, Carlton Street. Toronto, Canada. 
Price $5.00. 

EDUCATION AND INSTRUCTION 

HUNDREDS OF PEOPLE MAKE BIG MONEY 

writing Photoplays, Stories, etc. Why don't you? Write 

us for free details. Bookmart Co., Dept. 8, Auburn, 

:. Y. 

MANUSCRIPTS TYPEWRITTEN 

SCENARIOS, MANUSCRIPTS TYPED TEN CENTS 
page including carbon. Spelling corrected. Seven years' 
experience. Marjorie Jones, 322 Monadnock Block, 
Chicago. 

SHORT STORIES WANTED 

WANTED— STORIES. ARTICLES, POEMS *OK 
new magazine. We pay on acceptance. Handwritten 
^'^. p«««TTtpWp. Senrl Mss. to Woman's National Maga- 
zine, 333, Washington, D. C. 



Songwriters 



WHO WILL WRITE THE SONG HIT OF THE WAR? 
If von have an idea suitable for such a song write for 
FREE BOOKLET "Songwriters Manual & Guide." We 
revise poems, compose music, secure copyright and facili- 
tate free publication or sale. Poems submitted, exam- 
ined free. Knickerbocker Studios, 166 Gaiety Bldg., 
N. Y. C. 

WRITE THE WORDS FOR A SONG. WE WRITE 
music and guarantee publisher's acceptance. Submit 
poems on war. love or any subiect. Chester Music Co., 
538 So. Dearborn St., Suite 112, Chicago. 

SONG WRITERS— BEST OFFER TO NEW WRIT- 
ers. Particulars. Ellis Publishing Company, Dept. H, 
Irnngtmi, New Jersey. 

WRITE US WORDS FOR A SONG. WE WILL 

compose music — facilitate free publication. Send verses 
on love, war. any subject. Faircluld Music Co., 203 
Broadway, 16-D, New York. 

BUSINESS OPPORTUNITIES 

BUILD A $5000 BUSINESS IN TWO YEARS. LET 

us start you in the collection business. No capital 
needed; big field. We teach secrets of collecting money; 
refer business to you. Write today for Free Pointers 
and new plan. American Collection Service, 622 State 
St., Detroit, Mich. 



MISCELLANEOUS 



MORE THAN 2 0,000 COPIES OF THIS MAGA- 
zine are sold every month. An investigation showed 
that in 83% of the homes entered it is -read by all. 
84% of the users of classified during. the past year have 
repeated. The classified section offers a real oppor- 
tunity to classified advertisers. For further information 
address Photoplay Magazine, 350 N. Clark St., Chicago. 




DO YOU LIKE TO DRAW? 

CARTOONISTS ARE WELL PAID 

We will not give vouany grand prize if you 

answer this ad. Nor will we claim 

to make you rich in a week. But if 

you are anxious to develop your 

talent with a successful cartoonist, 

__ you can make money, send a copy 

of this picture, with 6c in stamps for 

portfolio of cartoons and sample lesson 

plate, and let us explain. 

The W. L. Evans School of Cartooning 

650 Leader Bldg., Cleveland, O. 





ALVIENE SCHOOL 
DRAMATIC ARTS 

FDUI? SCHOOLS IN ONE. PRACTICAL STAGE 

TRAINING. THE SCHOOt'S STUDENTS STOCK""" 

■THEATRE AFFORD PUBtIC STAGE APPEARANCES 

Write for catalog mentioning study desired to 

A. T. IRWIN. Secretary 

22S W. 57th St. New York City 



C ^iPOPULARITY FOLLOWS Ti 

fi^UKULELE 

H you play quaint, dreamy Hawaiian 
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i6 



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17 



War and the Fifth Estate 



A BUGLE shrilled in the darkness of the big 
theatre. The pictured actors ran to the 
window of the Paris hotel. Far down the 
street came a flutter of flags. The bugle call 
sounded again and then on the screen were flashed 
the words, "The Americans have come!" 

It was the climax of a picture that had stirred every 
emotion. Men and women had wept and laughed and 
shuddered as war's comedy and tragedy sprang into 
being before them. They had seen the German horde 
sweep down into France, they had seen the poilus 
standing up under the withering fire of the boche 
artillery, they had gone into the trenches and fought 
alongside these brave sons of a brave nation, and now 
came the thrilling sight of men of their own flesh and 
blood marching to join in the struggle for democracy. 

Do you wonder that they cheered and cheered and 
cheered again, standing in their seats with tears run- 
ning down their cheeks, cheering until far up the 
hanging globes of the highest lights shook at the storm 
of it? 

To every man and woman in that great theatre the 
war became from that time forth a living, breathing 
thing. No longer a remote passage at arms in distant 
lands, it was brought before their very eyes in all its 
grimness and glory. 

And here was but one of countless such experiences 
that have their counterparts in moving-picture houses 
the country over. 

The Greeks believed that drama had a cleansing 
effect upon all those who watched it. They believed 
that it purged a man's soul of the baser things, lifting 
it up to the heights of the emotions rising out of the 
acted scenes. 

If this world-old theory is indeed true, what a 
mighty cleansing the soul of this nation has experi- 
enced in watching the drama of war as portrayed by 
the moving picture! 

It was 1 not the fault of the American people that 
they did not realize the full meaning of the war from 
the outset. There was little reason why they should 
have. All too many of those who were shouting, 
'Wake Up, America" were men (and women, too) 
who heretofore had held themselves coldly aloof from 
America's democratic aspirations and dreams. They 
were not the sort the people trusted, they did not speak 
the people's language and some parts of the nation 
waited to be shown. 

They were shown. They are being shown today. 
With their own eyes they saw America arming. They 
saw r their boys change from slouching, callow youths 
into upstanding, responsible men in the magic crucibles 
of cantonment and training camp. They saw the vast 
trains of supplies being moved to feed these men bet- 
ter than any army is being fed. They saw the workers 
in the munitions plants forging weapons for America's 
fighters and they saw the finished products, those 
splendidly trained soldiers of ours, marching aboard the 
transports. 



As they gained a first-hand knowledge of events 
from the physical pictures on the screens, their mental 
pictures of the war broadened into a true perspective 
of its overwhelming importance. 

Today as they see our khaki in Paris, on Flanders 
fields, in the American-held trenches, they grasp the 
meaning of it all with a human understanding that 
never could be cajoled by orations or essays. 

All the Allied governments have been quick to 
realize the outstanding importance of the Motion Pic- 
ture as a moulder of public sentiment, a stabilizer of 
civilian morale. 

They have called up the best brains of the business 
and put them to work devising the most efficient 
methods of screen propaganda. In Washington whole 
offices are devoted to this vital work. Pictures of 
America's preparation and landing in France are 
shipped regularly to Spain, South America and other 
neutrals. What they have done in offsetting the thor- 
oughly organized German propaganda in these coun- 
tries may never be known but we can be sure their 
influence is felt. 

Nor is it alone for propaganda purposes that the 
governments so universally look to the Motion Picture. 
They have not neglected the recreational value of the 
screen. At one time in the first black days of the war 
the authorities decided to close the Motion Picture 
houses of Paris. They soon saw their mistake. There 
were very definite evidences of the dangerous effects 
of depression caused by lack of the accustomed diver- 
sion. Like individuals, nations cannot afford to dwell 
too persistently upon the one thought of war. Man 
must have his lighter moments if he would face the 
■ sterner ones. 

The splendid service rendered by the Motion Pic- 
ture in the sale of Liberty Bonds and Thrift Stamps, 
in the promotion of the work of the Food Administra- 
tion and the numerous other war activities need not 
be emphasized here. It is familial to anyone who has 
been in a motion-picture house since April, 1916. 

In a time of world agony there comes the Moving 
Picture to lure the tortured mind into pleasant places, 
to hearten the desolate, refresh the weary. 

Well may we call the Motion Picture the Fifth 
Estate. It has worthily proved its right to stand 
beside the Press as the new expression of our new 
Democracy. On the screen, Man sees his brother 
Man and his heart goes out to him in the true spirit 
of fraternity. 

Now this Fifth Estate has its interpreter and the 
name of that interpreter is Photoplay. Where the 
Motion Picture goes, Photoplay goes. Whom the 
Motion Picture interests. Photoplay interests. In 
picture and in type it is the magazine of the Motion- 
Picture world that reflects most accurately the most 
important developments in that world. Like the 
Motion Picture, its appeal is human and universal. 



(Copyright, 1918, Photoplay Magazine) 



i8 



Photoplay Magazine — Advertising Suction 













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TJ*EW young women have given as many delightful characterizations as Jane Grey. 
JO Remember her in the old Triangle pictures? Recently, on the stage, she took 
Marjorie Rambeau's place in "Eyes oj Youth," and played "De Luxe Annie." 




Charlotte Fairchild 



/T'S so seldom that one discovers the vivid Norma Talmadge in 
anything even remotely suggesting repose that this is a most un- 
usual picture. Whoever called Norma "the miniature dynamo" had 
never seen this pose. 




ONLY Kate Bruce— "Aunty 
Bruce" — as he called her 
— could make little Ben Alexan- 
der cry at the proper times in 
"Hearts of the World." Here 
are Ben and his REAL mother, 
in a very unteary moment. 



Alfred Cheney Johnston 



T}ERHAPS you had your first view of Martha Mansfield in an Essanay-Max Linder 
JL production. She was with Harold Lockwood in "Broadway Bill," and "the 
spoiled girl" in James Montgomery Flagg's series. Now she's in the "Follies." 




Alfred Cheney Johnsion 



/N getting Fred Stone, the Photoplay crossed its Rhine. The most popular Amer- 
ican comedian— with the possible exception oj Al Jolson—is a man of wealth and 
world-wide theatrical influence. He is completing his first Zukor-Lasky picture. 




Stage 



T7L0WERS and birds and sunsets and girls haven't needed any added charms for 
JO quite a good many centuries. For instance, here is Marie Prevost, whose dress- 
maker hasn't contrived much of anything, and yet — Marie is still in Sennett's pictures. 




Underwood & Underwood 



r I WIS year the continent did not threaten to divide that redoubtable stage-screen 
J. pair, Geraldine Farrar and her husband, Lou Tellegen, for Farrar is making 
pictures in the East. A dual film venture jor Farrar and Tellegen has been predicted. 





TJTALLACE Mc DONALD, not long ago with 
W Vitagraph, and recently with Triangle, has a 
splendid baritone voice — and is going to war! 



/RVING CUMMINGS, now leading man with 
Kitty Gordon, was a favorite in those "early 
days" of four years ago and a greater one now. 





70HN BOWERS has signed a contract to appear 
as a leading man in World films. Several years 
ago he played opposite Mary Pickjord. Married. 



T7UGENE O'BRIEN has risen to stellar dimen- 
ma sions, as a leading man, without being starred. 
It is reported that he is to have his own company. 



Alfred Cheney Juhnston 



T OlS MEREDITH'S most recent screen appearance was with Sergeant Empey in 
JL^d "Over the Top" She is equally well known on stage and screen. She starred 
in "Help Wanted," and has been featured by Vitagraph, Patke, and Lasky. 



THE WORLD'S LEADING MOVING PICTURE MAGAZINE 

PHOTOPLAY 



VOL. XIV 



SEPTEMBER, 1918 



NO. 4 




THE world is at the end of an epoch. The Great ~War is as much of 
a milestone as the Great Deluge. 

And after the deluge, what? 

We believe that this is the finale, for the present generation at least, 
of mere material invention and mere commercial expansion for gain. 
Commerce and invention have been rising li\e a vast utilitarian flame for a 
half century. 

It is altogether probable that the war will be followed by an age of 
stupendous spiritual discovery, and related to this of course, a revival of art 
such as the world has not seen since the Italian Renaissance. 

The greatest things in the world remain to be discovered, and none of 
them are merely material. They are awesome things, things which we spea\ 
of in whispers . ... the relation of the human brain and that mystic 
impelling force which for want of a better name we call the soul .... the 
problems of life and death .... the riddles of the cosmic universe. 

These vast things must, in their very nature, have the most stupendous 
reflexes in imagination. Imaginations one expression is art, in some form 
or other. And the art of the twentieth century — the preeminently faithful, 
graphic, living art of today — is the Moving Picture. 

What Music has meant to Italy, Painting to France, the T'lovel to 
Russia and Dramatic Literature to England, the Moving Picture will mean 
to America. Yesterday America was the only believer in the Moving Pic- 
ture; today it is the only developer; tomorrow it will be the only master of 
the craft. It is destiny that this craft shall be the arm of our ingenuity and 
the vehicle of our imaginations. 

Veritably, as The Day of Materialism and Imperialism is waning, 
The Day of the Literature of Light is dawning. 



27 




The peculiar necessities of their Alpine 
warfare has lead the sturdy Italians into a 
conflict almost as upside down as that waged 
by the airmen. Here is a " trench " not in 
the Alps, but on the Tagliamento river. 
One would believe that whoever constructed 
such a trench, could, if occasion arose, do 
the most beautiful fancy work — provided all 
their time were not taken up decimating 
the Austrian Empire. 



The danger of a surprise attack, or an air- 
bomb, or a filtration of deadly gas, isn't 
much of a worry to these United States 
troops, asleep in a dugout right where the 
fight is at its hottest. They have warmth, 
whi;h is a manifest necessity in the cool 
nights of Northern France, and they have 
just had something to eat, which is a happy 
thought anywhere, and they are ready for 
anything that comes. 




Here are two Sammies posted in an 
advanced shell-hole, not, however in "No- 
Man's Land." This particular bit of 
gnashed ground is just behind the front 
line diggings, and serves to give the 
Americans their final training. At this 
moment they are observing Hun airships 
criss-crossing the air above their heads, 
and — you will note by the tensely-grasped 
riflles — they are not at all unwilling to 
have these buzzards of the sky come 
within sniping range. This is one of 
the first pictures to arrive in this country 
showing Americans actually bearing the 
burden of the world-war at the front. 



28 



The Myriad 

Moods of 

War 



Photos copyright by 
Underwood 6i Underwood 



Will another Meissonier arise 
to paint the grim yet occasionally 
beautiful drama of this war? Let 
us hope so, for with a world 
embattled there is warlike 
splendor of a sort that — let us 
hope — we shall never see again. 
Occasionally there is a gentler 
touch which might have done 
honor to the soft tints of Corot. 
This French sentry, for instance, 
perched on the wall of a ruined 
chateau, could be the centerpiece 
of an exhibit in any Salon. 



Here lies indisputable photo- 
graphic evidence of the end of at 
least one of the great new German 
U-boats. It lies, a total wreck, 
on the coast of Wissant, near 
Calais. The boat was captured 
by the French, and the crew were 
taken prisoners by Belgian cavalry. 
This picture gives a remarkable 
view of the general lines of the 
Kaiser's new weapon of the seas, 
and — sinister thought ! — it is a 
pity that it and some more like 
it cannot be shown through the 
German Empire. 





29 



MR. JOHNSON has long been recogni2ed as the 
leading commentator that the new art of the 
Photoplay has yet developed in its twin brother in art, 
literature. At the conclusion of a year's leave of ab- 
sence from his editorial desk, spent in the studios of 
the East and West, he has returned, bringing with him 
a deeper appreciation of and faith in the great mission 
of the motion picture, a greater Tolerance (if possible), 
and a vast storehouse of information. Like a surgeon 
seeking more light, in diagnostic study he has attended 
clinics, and done research work. His remarkable 
literary ability, with which the readers of PHOTOPLAY 
are familiar, gives him the facility to pass his infor- 
mation on and to aid in a constructive manner in the 
development of the greatest Art which America has 
given to the world — the Photoplay. We are glad to 
welcome him back. We know our readers will be 
gratified by his return.— THE PUBLISHERS. 



o 



UR government has wisely determined that traitors 
are of two classes: those who actually give aid and 
comfort to the enemy, and those who do nothing 
except deride the efforts of others, while offering 
no help, making no sacrifice, 
proffering no service, them- 
selves. Those classifica- 
tions have a place 
in the arts as 
well as in 
war. 




Have a 



You have got to put your whole 
ma\e it achieve its manifest Destiny, 
a new understanding, pleads for 

tyy Julian 



A year ago I left the secure trench of Photoplay Maga- 
zine to advance into the no-man's land of actual picture- 
making. I wanted experience. I got it. I made experi- 
ments. A few of them were successes. I wished to find 
out what sort of fellows the men behind the pictures really 
are. I found out. I wished to know why we don't get 
better pictures, and a larger percentage of good pictures. 
I discovered some of the reasons — not all of them, or even 
half of them, for here's where one has to back up experience 
with theory. 

My first impulse, upon once more tumbling over the 
sandbags, and finding my feet on the fire-step, is to cry 
"Have a Heart!" 

I am going to say this: the chief thing wrong with mo- 
tion pictures today is the class of intelligent people who 
continually find fault with them. 

I mean authors of repute and power; the progressives 
among actors and actresses; established theatrical man- 
agers; professional critics and commentators; leaders of 
society and civic bodies whose function it is to turn 
their following toward some form of art or other. 
Let me explain still further: 

We have come to the end of the Motion Picture's 
kindergarten years. The mechanical epoch, the toy 
era, is quite over. The Motion Picture is today in a 
death grapple with an invisible Prussian — a spirit of 
skepticism which would condemn it to an eternal tri- 
viality, making the screen a languid diversion for chil- 
dren, cooks on a holiday, ingenues, and business men 
in the siesta hour. 

The Motion Picture has gone as far as it can in the 
paths which it has always followed. By every justice 
that art and culture possess, it is due, from now on, to 
be a genuine artistic force, a cultural, permanent force, 
and that it cannot be unless intelligent men and women 
will lend it not only their fullest support but their ut- 
termost faith. That they have never done, but if they 
do not do it, now, they are committing treason against 
the artistic liberties of the world. They will be guilty 
of crushing the one art contribution of the twentieth 
century beneath a bigotry which would have done 
credit to the fourteenth. 

The director and the star dominate the production 
side of the picture business today. You hear a good 
deal about stellar tyranny, and almost nothing about 
the Commune of the director. Yet there he stands — 
obscure, but an oft-multiplied little Czar. 
Of course the directoral problem is a 
real one. The directors grew to be bosses 
because they had to be — they had to write 
their own stories as well as choose them, 
and after that, adapt them to their j^eop'e 
and their conditions. That wasn't any de- 
sire to wear shoulder-straps; it was the first 



The photoplay has 
annexed beauty, long 
since — but now it 
needs decorators and 
designers and scene- 
builders, and modistes 
and fashion-designers 
who know the photo- 
graphic values of color. 



30 



Heart 



faith behind the Motion Picture, to 
A familiar Voice, aroused by 
tolerance, and tells you why. 

Johnson 



THERE are robbers in National Banks, sensualists 
in the Church and Heaven knows how many half- 
wits in the colleges. Must the Photoplay be condemned 
because of the pickpockets among its camp-following? 



We want from the intelligent men and women of 
the United States unquestioning, enthusiastic belief in 
the motion picture as an instrument of destiny in bring- 
ing men and their motives together throughout the 
world, as a disseminator of knowledge, and a purveyor 
of beauty and emotion. 



The chief thing wrong with motion pictures today 
is the class of intelligent people who continually find 
fault with them. 



law of survival. However, like the descendants of the first 
feudal strong men, many of the directors have grown to be 
robber-barons, and inflict on their proprietors and their 
public the brassy sheen of small-time taste, feeble educa- 
tion and colossal egotism. 

Xow then, what do we want from the intelligent men 
and women who are the progressive and creative forces of 
the U. S.? 

Like America's militant allies, we want and must have 
pretty nearly everything. 

In the first place we want unquestioning, enthusiastic 
belief in this truth: the Motion Picture, the greatest dis- 
covery of the arts, is the instrument of destiny in bringing 
men and their motives together throughout the world, 
and is as well a disseminator of knowledge and a pur- 
veyor of beauty and emotion. 

When all those who count themselves leaders of 
thought believe in the Motion Picture as they be- 
lieve in the Novel, the Play, Music and Painting, 
we shall receive the full and heartfelt co-opera 
tion of every man and woman who can write 
or make or procure an artistic thing. 

First of all, we need the sincere co-operation 
of the author himself — not the author's by- 
products. 

We need painters. We need designers. We 
need the fashioners of style. We need poets. 
We need wits and epigrammatists and all 
the rapiers of letters — for the Motion Pic- 
ture's mightiest corps and chief reliance, 
the Photoplay, depends much upon the 
written word. We need mechanical in- 
ventors and chemical experimenters. We 
need opticians with imagination and mod- 
istes who know the value of color in 
photography. 

Lest some member of the Author's Union 
assassinate me for inferring that the author, 
not the illiterate picture-manager, is to 
blame for a lack of literary sincerity among 
the cameras, let me explain: this is a two- 
sided quarrel. For one author who has 
been done brown, insulted, and thrown out 
over the back fence, there are twenty who 
do nothing but snort and sneer, extending 
a cordial raspberry to all things picturistic 
— and perfectly willing, too, to pick up 
some loose change by dashing off an idle 
scenario now and then. And for as much as pos- 
sible, for it is no sin for anyone to charge double price to 
the government and the movies. 

There you have some of the external facts in the case. 

Have a heart! 

Have a heart and help. If you don't, I tell you that as 



sure as we're both here, the Motion Picture — and the 
Photoplay, which is the Motion Picture's biggest and finest 
expression — will come to a full stop. 

Let me come back to the war for one more illustration: 
one day's battle now uses up more ammunition than Napo- 
leon required to carve an em- 
pire. The demands of the 
Photoplay, in particu- 




The Director and 
the Star dominate 
the production side 
• of the picture bus- 
iness today. You have heard 
a lot about the tyranny of 
the star, but not much about 
the tyranny of the director. 

31 



32 



Photoplay Magazine 



lar, are correspondingly just as over- 
whelming. To progress it must have not 
a novelty here and there, but a stupen- 
dous torrent of spiritual emotions, men- 
tal ideas and physical material. 

The Whole People, have got to put 
their whole faith back of the War to 
bring it to an end, and behind the 
Photoplay to make it continue. 

Before I sat down to write these par- 
agraphs it seemed to me that the me- 
chanical difficulties — the internal problems — were the par- 
amount issue. You see, we have made them secondary, 
but they are very real, too, and I want to show some of 
them to you. 

You are responsible for the first and biggest one: the 
vast number of photoplays necessary. In your down-town 
theatres you kick -if you don't have a daily change of bill; 
in your resident districts you must have a new one every 
other day. No publication — not even Montgomery Ward's 
catalogue — could hold up to that demand. The theatres 
wouldn't attempt it. Yet, cultivating this optic intemper- 
ance deliberately, you spread your groans all over the high- 
way because you don't find invariable masterpieces. 

Have a heart! 

For -the illiterate captioneer, the careless director, 
time-clock scenarioist, the perfunctory scene-builder, 



"THE demands of the 
■*■ Photoplay are as over- 
whelming as the demands of 
War. To progress it must 
have not a novelty here and 
there but a stupendous tor- 
rent of spiritual emotions, 
mental ideas and physical 
material. 



prima-donna actor, the male or female vampire and 



the 
the 
the 
managerial panderer I offer no excuses under any circum- 
stances. 

Not to continue a weary cataloguing, let's take two or 
three specific instances of great obstacles never even 
thought of by the casual observer. 

California is considered a paradise of light. And so it 
is — when its sunshine falls from a perfectly clear sky. But 
many of the spring and summer months 
are marked by a variable haze: light 
which is of one degree to the eye, and of 
many degrees to the camera. Now, lights 
in a picture must "match up." So, some- 
times, day after day, a company will set 
out to continue or complete one or more 
exterior sequences and find it impos- 
sible to do so because "the light 
doesn't match." Meanwhile, stel- 
lar salaries go on, overhead ex- 
pense piles up — and the program 
is waiting. Eventually the pic- 
ture must be completed regard- 
less. 

The war is increasing the 
laboratory chief's problems 
day by day. Perfect moonlight 
effects were gotten in the aniline 
dyes imported from Germany be- 
fore the war. That dye is gone. 
Eventually, we shall have as 
good or better, made domesti- 
cally — but we haven't it yet. 
Developing and printing ma- 
terials have not only in- 
creased nearly 2000 per cent 
in price, but are almost im- 
possible to get. No firm is 
able, today, to get anywhere 
near the quota of new cam- 
eras it is willing to pay 
for. Each one that it does 
get costs as much as a high- 
class automobile! 

Most of the production de- 
partments are located, per artis- 
tic necessity, in California, while 



While the photographer wails, perhaps 

day after day, for the "light to match," 

stellar salaries go on, overhead expense 

piles up and the programme waits. 




their executive offices exist, per business 
necessity, in New York. Three thousand 
miles apart, and ofttimes not even the 
whole labor of the Western Union is able 
to make them understand each other. 

The problem whose rack and anguish 
never relents, the nightmare that shares 
your plate at the table and roosts on' your 
bedposts at night, is Time. The awful 
urge of speed saturates and tinges every 
department of Photoplay endeavor. 
Time! a galley-boss born of feverish competition and public 
fastidiousness that forces producers to produce on an in- 
violable scale whether art be fleeting, or lethargic for any 
one of a number of unavoidable causes. The fact that it 
may require time for the mountains to go to Mohamet 
finds no recognition in the film booking agencies, pushed by 
the exhibitors who are pushed by the exhibitor's patrons. 
Time balls up the leading woman's costumes, makes a ma- 
chine out of the most enthusiastic scenario-writer, makes a 
sawmill of the cutting-room, interferes, even, with proper 
locations. 

In the Restaurant Royale, in Chicago, I heard a swarthy- 
faced engineer, at an adjoining table, sharply criticize 
Triangle's "Hard-Rock Breed" because the rock location 
wasn't "hard rock," after all. 

I was intimately concerned with the finding of locations 
for that particular picture. We went seventy miles every 
day, by motor, to get to the rock-drillings that were shown 
— seventy miles, from the coast to the interior of San 
Bernardino county, and there wasn't what the engineering 
profession knows as hard rock work within two hundred 
miles of Los Angeles at that particular time. If there had 
been hard rock within one hundred miles we would have 
reached it. For picture purposes all real rock excavation, 
on a large scale, is practically the same. 
We ought to have had it, perhaps, to sat- 
isfy the two-score men in the United 
States who in a few scenes could detect 
the difference. But just then we couldn't 
get it, and we did the best we could. 
Have a heart, Mr. Engineer! 
The theatre men, because of a bit 
of jealousy; the literary men, be- 
cause of class pride and a lot of 
real wrongs at the hands of the 
pirates and ignorant elbowers 
who have infested this business; 
the professionally cultured, by 
reason of their habits of thought 
— these, and others, have a 
motto upon their walls which 
says: "The Movies are An- 
athema, and They who traffic 
therein are Sluggards, or 
Thieves, or both." 

Let us destroy that senti- 
ment wherever we find it, for 
it is the delusion of Pharisees 
who close their eyes and stop 
their ears against the truth. 

There are robbers in Na- 
tional Banks, and sensualists 
in the Church and Heaven 
knows how many half-wits 
in the colleges. Must the 
Motion Picture and the Pho- 
toplay be condemned because 
of the scars of speed and the 
pickpockets among its camp- 
following? 
Have a heart! 






The Service 
Star 






In which it is proven that 
the only person prouder 
than a bride is a war-bride. 



By 
Dorothy Scott 



MARILYN kept right 
on with her knitting 
although her eyes were 
so brimmed with tears 
that the stitches seemed blurred 
and distorted. She was doing 
her best to hide in a corner of 
the spacious, bright hall which, 
was used as a work-room by the 
Ladies' Loyalty League and which 
was at this moment filled with chat- 
tering femininity. Most of these 
"volunteer workers" were of high 
school age and, in the midst of this 
gay, fashionably dressed crowd, 
Marilyn looked like a little grey moth 
that had somehow strayed into a bevy 
of butterflies. 

She was waiting, nerves on edge, for 
the taunts which had become a fa- 
miliar part of the afternoon's con- 
versation. Whenever there was a 
lull in the chatter, it was customary 
to "get a rise out of Marilyn" and, 
with the unconscious cruelty of 
youth which has never known suf- 
fering, the girls had seized upon 
her one sensitive subject. She was 
used to being twitted about not . 

having a beau — as long as she could remember she had 
been called an old maid and she had learned not to mind. 
But, since the war had broken out and she had watched 
the long lines of gallant fellows on their way to the front, 
the thought that there was not one of them to whom she 
could send candy and cigarettes and good cheer, had be- 
come almost more than she could bear. The girls' chatter 
about their soldier sweethearts, left her sick with loneliness 
and this they knew and found exceedingly funny. 

In spite of her struggle for self-control, one huge tear 
rolled down her cheek and splashed on the khaki-colored 
sock she was knitting. Gwendolyn's quick eyes saw it and 
sparkled maliciously. 

"Feeling blue, Marilyn?" she cooed in honeyed tones. 
"Are you crying over your lover at the front? Don't be 
bashful— show us his picture." 

Twenty pairs of bright eyes were raised from their work 




* 



"For all my fears," said Mar- 
ilyn whimsically, "my dream 
came true. I'll be a real war 
bride this time, with no pre- 
tending." 



to watch the fun. Marilyn winced like a little hunted 
animal, then gulped twice and suddenly became calm. A 
wild idea had entered her head and out of her desperation, 
she acted on it almost involuntarily. 

"I haven't his picture with me," she said, steadily. "But 
I can tell you his name. It is — " she hesitated for a 
fraction of a second and then added in a rush, "It is Cap- 
tain John Whitney Marshall. Perhaps you have heard of 
him." 

Heard of him! The name of General Pershing himself 
could hardly have caused more excitement. For weeks, 
Captain Marshall had been heralded in the papers as the 
latest "American Ace," the valiant young aviator who had 
become the terror of the German aerial fleet. Marilyn 
caught eagerly at the first murmur of surprise and ad- 

33 



34 



Photoplay Magazine 



miration and then to her terror heard it change to incre- 
dulity. To keep her courage from failing utterly she 
plunged forward still deeper. 

"He isn't my sweetheart though," she gasped hurriedly. 
''He's my husband. We were married secretly before he 
left for the front." And then, unable longer to keep back 
the burst of tears, she escaped in the buzz that followed 
her announcement. 

Once out in the street, the realization of what she had 
done, descended in full force upon her. To her as to the 
other girls, Captain John Whitney Marshall was only a 
name to be honored. She had never even seen him although 
his picture in aviator's uniform, cut from a Sunday paper, 
had hung above her dresser for weeks. She was in for it 
now, however, there was nothing left but to see her story 
through and to find evidence that would support it. 

In her bewilderment, she stopped for one dazed moment 
before a dingy little curio shop on the corner. Its window 
was filled with the usual motley collection of old jewelry, 
worn tapestries and dirty prints. In the foreground was a 
battered German helmet and an officer's leather belt, obvi- 
ously placed there because of their timeliness. They gave 
Marilyn her second inspiration. She would buy them as 
relics of her mythical husband. 

The proprietor who bargained with her was an unsavory 
looking creature with shifting eyes and cruel hands like 
claws. Once a voice from the back of the shop addressed 
him as "Blinky" and he answered with a volley of curses. 
Before she left, he had forced upon her the purchases for 
twice their value and with uncanny knowledge of her pur- 
pose, had sold her an old-fashioned wedding ring. 

Meanwhile, the girls of the Ladies' Loyalty League were 
holding an indignation meeting in the deserted hall. The 
first impression made by Marilyn's earnestness had worn 
off and they all agreed that she was'a horrid little story- 
teller who was trying to impose on their good-nature. 
She must be exposed at once and publicly, to 
teach her a lesson but they could not agree 
on the best method of making an example 
of her. Suddenly Gwendolyn had a 
bright thought. 

"Captain Marshall's mother lives 
here," she announced. "You know 
their beautiful place they call 'Hill- 
crest.' Let's write to her and tell 
her everything and invite her to 
our next meeting when Marilyn 
tells her story. She can show 
her up better than anyone." 
And, with the shout of joy 
which greeted this sugges- 
tion, the Loyal Leaguers 
gathered about the table 
to compose a letter to 
Mrs. Marshall which 
would be tactful and at 
the same time justly 
dignant. 

At the 
of the 



guished woman with the unconsciously gracious manners 
of the true aristocrat. She had indicated from the first 
that she did not care to discuss the object of her visit and 
the girls were waiting, with varying degrees of impatience, 
for Marilyn's arrival. 

When the door finally opened and Marilyn stood on the 
threshold, all the Leaguers turned as one to face her. She 
made a pathetic, frightened little figure with her huge eyes 
staring through their shell-rimmed glasses and the German 
helmet and belt clasped tightly to her shabby blouse. She 
tried to slip into a seat but Gwendolyn, still with her 
honeyed smile, pressed forward, took her hand and led her 
forward to the guest. 

"Let me present Mrs. John Whitney Marshall, wife of 
the famous aviator," she said sweetly. "We invited this 
lady here especially to meet you, Marilyn. Do tell her 
how it happened, my dear. It's all so thrilling." 

Marilyn looked up into the kind brown eyes of their 
guest and had a wild impulse to throw her arms about the 
older woman's neck and confess everything. A suppressed 
chuckle from one of the girls brought her back to her orig- 
inal intention and she began the story which she had pre- 
pared carefully at home. It was a remarkable mixture of 
love and adventure 
Marilyn's powers 
but to-day — with 
upon her — the girl 
justice. As she 
the most salient 
facts, she turned 
to her trophies 
for support 
and held out 



A 



which did credit to 
as a weaver of fiction, 

those kind eyes 

could not do it 

faltered over 



next meeting 
League, the 



twenty young patri- 
ots sat clustered 
about their guest 
who had just ar- 
rived in the Mar- 
shall limousine. 
They had all 
agreed s D cretV 
that she looked 
exactly as the 
mother of a hero 
should look — a 
gentle, distin- 




John's face was distorted at first sight of the 

weapon Suddenly, all trace of fear 

changed to blind anger. He sprang at the 
crook just as he fired. 



The Service Star 



35 



the helmet and the belt as dumb witnesses to her 
statements. 

In the pause that followed, Mrs. Marshall spoke. 

"I can't tell you how glad I am to meet you, my dear," 
she said gently. "You see, I'm John's mother." 

The helmet fell crashing to the floor as Marilyn stag- 
gered back struck by the realization that she had been 
trapped. A burst of laughter from the girls who no longer 
tried to restrain their mirth, confirmed her assurance. 

But Mrs. Marshall went on speaking. "My son wrote 
me all about it," she said to the dazed Marilyn. "I've 
been looking for you everywhere. Come here, dear child. 
I'm so glad I've found you." 

Marilyn could only stare for a moment at the arms out- 
stretched for her. Then the strain of the last hour broke 
and she fell sobbing into the embrace of the dear woman 
who, deceived or not, was at least for the moment, her 

friend. 

* * * * * * 

Life at Hillcrest, where Marilyn 

was now established, would 

have been one untroubled 

round of luxury and 




comfort and sweet companionship if it had not been for the 
secret which was gnawing at her conscience. Every affec- 
tionate act on the part of Mrs. Marshall burned like a coal 
of fire until finally the girl could bear it no longer. One 
night, when her foster-mother left her with a goodnight 
kiss, she called her back and told her everything. Mrs. 
Marshall seemed, oddly enough, more bewildered than sur- 
prised and sat for some moments in silence as if seeking 
guidance for her next move. At last, she spoke. 

"You must stay here, at least for the present," she said. 
"Later we will decide what to do but until then never let 
anyone but ourselves suspect that you are not my son's 
wife." Marilyn promised with a deep sense of relief in 
her heart. 

That night, Marilyn awoke suddenly from the most hor- 
rible of nightmares. With the terror of her imagined dan- 
gers still upon her, she jumped from her bed, ran out in the 
hall and fell almost into the arms of a young man, an utter 
stranger, who had come out of an adjacent room with an 
air of belonging there. At her shriek of surprise, Mrs. 
Marshall came out of her bedroom, cast a significant glance 
at the stranger and led Marilyn away to her own room. In 
the midst of her soothing words of endearment, she ex- 
plained that the stranger was a young chemist for whom 
she had fitted up a laboratory. "Mr. Hardwick is doing 
very important work for the Government," she told the 
girl. "Of course you must say nothing about his being 
here, for spies are constantly about." Marilyn promised 
again and went to sleep with the vivid memory of a pair 
of keen lovable blue eyes which her momentary glimpse of 
the stranger had impressed upon her. 

As the days*vent by. Marilyn's visits to the laboratory 
became a regular part of the pleasant routine at Hill- 
crest. It was obvious that the chemist looked forward to 
them. At Mrs. Marshall's suggestion, she had discarded 
the black-rimmed glasses, loosened her primly knotted 
hair and turned from a meek little grub to a very fasci- 
nating butterfly. Without the slightest conceit, she real- 
ized that she was now a very pretty girl and the 
. chemist's evident admiration did not seem incredible to 
her. Nevertheless, she was deeply disturbed at the 
situation which was developing. 

Once he had raised her hand to his lips and then 
catching sight of her wedding ring, had dropped it with 
a look of searching inquiry. The pang which this un- 
spoken question had brought her, made her realize how 
close and important a factor he had become in her life. 
She had left the laboratory hurriedly with some laugh- 
ing excuse but the thought of that look still stabbed 
her and she felt that she was beginning to hate the 
soldier "husband" who was the unconscious cause of 
her suffering. 

One evening, as she was dressing for dinner, her maid 
announced that "a person" downstairs insisted on see- 
ing her. From the up-turned nose and general disgust 
of Celeste, Marilyn gathered that the "person" was 
more or less objectionable and not to be encouraged. 
When she entered the reception, an evil-looking figure 
rose and came forward, fixing her with a steady 
menacing gaze. For a moment she had only a vague 
sense that she had seen this man before and then with 
a rush came back the memory of the dark, dingy curio 
shop and this face leering at her from behind the 
counter. It was Blinky. As the conviction flashed 
upon her she started back with a little cry. 
Blinky grinned, insolently. 

■Remember me now, don't you," he sneered. "I'm 
wise to your little game kiddo but there won't be any 
trouble if — " He crossed his palm with a significant 
gesture. 
Marilyn felt -the old terror sweeping over her. This 
crook had it in his power to spread broadcast the secret 
which she and Mrs. Marshall had so carefully guarded. 



36 



With a panic-stricken movement she 
tore from her neck the string of pearls 
which had been her birthday gift and 
held them out to him. Blinky clutched 
them in his claw-like hands, grinned his 
approval of her move and vanished with- 
out a word. 

This incident served to strengthen her 
resolution to leave Hillcrest — a resolu- 
tion which had already sprung from her 
growing love for the chemist. There 
had been no word or act that would 
serve as admission of the attraction they 
both felt but they were both unhappy and ill at ease in 
each other's presence. Drawn together by an almost irre- 
sistible force, they were still separated by the spectre of a 
wholly mythical husband. Marilyn lived in hourly fear of 
the consequences of revelation and finally decided to seek 
safety in flight. 

When she announced her purpose to Mrs. Marshall, that 
lady met her resolve with frenzied entreaties to stay at all 
cost. The fervor of her pleadings surprised and puzzled 
Marilyn. She knew that Mrs. Marshall loved her and had 
expected some affectionate efforts to keep her in the house 
but there was something hysterical, almost terrified in the 
woman's determination to keep her there. She broke 
away after a painful scene and started back to her room, 
more than ever resolved to get herself and her few belong- 
ings out of the house which had held such joy and suffer- 
ing for her. 

As she passed the laboratory door, she became conscious 

of t tie penetrating 
and sinister odor 
of some gas, far 



Photoplay Magazine 

The Service Star 



NARRATED by permission from the 
scenario by Charles A. Logue, di- 
rected by Charles Miller, and produced 
by Goldwyn, with the following cast: 

Marilyn March Madge Kennedy 

John Whitney Marshall . Clarence Oliver 

"Blinky" Tammany Young 

Jefferson Jules Cowles 

Finkelstein William Bechtel 

Mrs. Marshall. . .Maude Turner Gordon 

Gwendolyn Plummet Mabel Ballin 

Aunt Judith Victory Bateman 

Martha Zula Ellsworth 





more deadly than any that had before 
emanated from that hall of evil smells. 
She rushed to the door and threw it 
open. As she did so, a dark figure 
swayed past her and fell heavily to the 
floor. It was the chemist who had evi- 
dently just entered to investigate the 
accident and had been instantly over- 
powered by the fumes. A glance at the 
laboratory told the story — the jar which 
had contained the deadly gas lay 
smashed on the floor with a large rat 
which had knocked it over lying dead 
beside it. 

Marilyn's shriek brought the butler to the scene and 
between them they managed to drag the unconscious man 
to a couch in the. library. As Marilyn bent over the death- 
like figure, she looked up suddenly to see Mrs. Marshall 
standing in the hall. She seemed immovable for one 
moment and then rushed forward, brushing the butler and 
Marilyn aside. 

"John," she cried, as she threw herself on her knees 
before the divan. "John — My son — Come back to me — " 
The chemist's eyes slowly opened and he staggered un- 
certainly to his feet. "I'll be all right, in a moment, 
mother," he soothed her. "Didn't get enough of the stuff 
to do much harm, but another breath would have finished 
me." 

As the servants helped him up to his room, Marilyn 
turned to the mother with flashing eyes. 

"Then he," she said slowly, "is John Whitney Marshall." 
The mother could only nod, pitifully. 

"So that's why you let me come here," 
Marilyn stormed at her. "To make me a tool 
to help me trick my country! Oh, the coward, 
— the slacker — slacker — slacker!" 

She whirled toward the door and would 

have flung herself out of the room but the 

mother called to her in a tone so full of 

anguish that there was no ignoring 

it. She came back slowly and stood 

before her, still trembling with fury. 

(Continued on page 112) 



In her mind's eye, 
Marilyn could see him 
standing before the 
army men — staunch 
and proud — reporting 
for service. 




A Merry Hamlet 

Conway Tearle is really cheerful — even before brea\fast. 
By Alison Smith 



THERE is something about the name of Conway Tearle 
that suggests partings at twilight and the shadow of 
cypresses and other old, unhappy, far-off things, that 
are subtly tinged with melancholy. That is why, when I 




first met him in the prosaic light of an editorial office, I was 
so surprised that I forgot about being an interviewer. In- 
stead of asking him about his favorite breakfast food, I 
blurted out, "You don't look a bit sad." 
_^^ "I'm not sad," he answered, calmly, quite 

"^ as if that were the right way to begin. "I am 

hopelessly, unromantically cheerful. I'm even 
one of those unpopular persons who are cheer- 
ful before breakfast. Yet, because I have 
played every variety of blighted Being includ- 
ing Armand Duval, people think that I am 
like that all the time. They expect me to 
behave like Hamlet or the grave-digger." 

You couldn't imagine anyone who looked 
less like a grave-digger. He had evidently 
just motored in from the country and he was 
as jaunty as sun-burn and an auto-cap could 
make him. He suggests outdoor sports in 
every move, without the slightest hint of the 
tragic situations which are his usual in-door 
sport behind the footlights. His buoyancy is 
different from the Douglas Fairbanks variety, 
however, and his grin is slightly quizzical, as 
though he were amused at himself for finding 
life so agreeable. His philosophy, I learned, 
has been gathered from all sorts and condi- 
tions of men whom he has met through his in- 




Mr. Tearle — twice. His accompanist in the 
small picture is Mary Pickford's remarkable 
characterization, Unity, in "Stella Maris." 

satiable curiosity to see how "the other half" 
ives. 

"I chummed about with some queer lots in 
London," he told me. "They gave me invalu- 
able material for character work, which I never 
could have gathered second hand. For in- 
stance, I never could have played the bruiser 
in 'Major Barbara' if I hadn't known a chap 



37 



38 



Photoplay Magazine 



just like that down in Whitechapel. I met him while I 
was a pugilist." 

"In a play, you mean," I gasped. "Not a real one." 

"A real one," he insisted proudly. "All my family had 
been actors for generations and I decided that it was time 
to break away from the traditions. While I was trying to 
decide between the law and intensive farming, the oppor- 
tunity to enter the ring came along and I jumped at it. 
It's a real science in itself and one that is much abused by 
outsiders. You can't stay in it if you are vicious. A 
clergyman even, can tread the primrose path on the quiet 
if he is so inclined, but a pugilist has to keep fit, physically 
and mentally, or he is knocked out." 

"You've been reading 'Cashel Byron's Profession,' " I 
accused him." 

"I know that pugilists were a decent lot before Shaw 
wrote that book," he answered calmly. "But then Shaw 
thinks he discovered the ten commandments. I don't like 
that school of dramatists although I did enjoy the charac- 
ter work in. 'Major Barbara.' I like authors who write 
plays and books about what people do instead of what 
they feel and think. I don't like any kind of subjective 
writing. You can get the characters' mental state through 
their actions better than through what they say about 
themselves. I'd rather have people talk about their pet op- 
eration than about their emotions. And I don't like Ibsen." 

This last was delivered as a simple positive statement 
and not with the "please-don't-publish-this" manner which 



usually accompanies such heresies. He doesn't like Ibsen 
and he doesn't care who knows it. And yet his art has 
been devoted to getting the more subtle nuances of emotion 
over across the footlights. Was this a mood, I wondered, 
or the same perverse desire that made the tragedian of the 
old legend long to be a clown? 

The fact that Mr. Tearle was born in Brooklyn could 
not prevent him from having romantic antecedents. His 
family has been known for generations in Wales and Ire- 
land and both the Conways and the Tearles are familiar 
and respected names in English theatrical history. His 
own work has been associated with a number of famous 
names including Sir Charles Wyndham and Ellen Terry. 
On the screen, one thinks of him as the restless artist in 
"The Common Law," the melancholy prince in "The Fall 
of the Romanoffs" and the mysterious South African miner 
in "The Judgment House." However cheerful his philoso- 
phy may be, there is undoubtedly some quality in his per- 
sonality that fits him for the more somber roles of life and 
he is usually identified with the hero who is a victim of 
fate's revenges and whose head is "bloody but unbowed." 

And yet I know that when I see him again as a promis- 
ing young barrister whose career has been ruined by a 
reckless woman whom he has just sent back to her 
husband, and when he stands before the fire-place, defy- 
ing fate with that ironic twist to his mouth — 

I just know that I will forget that he is cheerful before 
breakfast and that he doesn't like Ibsen. 



w^fce 




The 

Property 

Room 



Charles 
McMurdy 



Comer of Property Room of Triangle Studios, Culver City, Calif. 

Here's the crowded storage-room of Filmland's raw material — 

Curious accessories to deck the mimic scene; 

Trappings and accoutrements for single reel or serial — 

Stuff that dreams are made of — in the stockroom of the screen. 



Here's a towering headdress worn by Dervish monks fanatical; 
There's an ancient coat of mail — with many a dark red stain; 
This old chest of ebony once bulged with gold piratical, 
Loot of swarthy buccaneers along the Spanish Main. 



Bearskin rugs from Labrador and fishing nets from Brittany; 
Rusty spurs from Gettysburg; a miner's pick from Nome; 
Idols from Cambodia, besought in heathen litany; 
A spinning wheel and stately clock from some Colonial, home. 



Daggers that could tell a tale of murder and of mystery; 
Swords that flashed in midnight brawls in moonlit Paris streets- 
Never a scenario could screen a hotter history, 
Filled with wild adventuring, with gay and gallant feats. 



Commonplace modernities and obsolete antiquities 
Gathered from the ends of earth, in every crowded nook; 
Anything required for heroics or iniquities — 
Comedies or tragedies or quaint and curious histories — 
You'll find it in the prop room — if you just know where to look. 




MARY WARREN is another example of these bright and 
willing young women who hang around the gate waiting 
for opportunity to knock. This gate happened to be at 
the Triangle Studios at Culver City and Mary wanted a job. 
So she waited and waited; and, as is the way in the movies, 
opportunity happened along and Mary opened the door and 
reached out and dragged it in. She'd always wanted to be a 
movie actress, you see, ever since she was little Mary Weir- 
man, back in Philadelphia. But the folks didn't approve, of 
course — folks never do, in interviews with movie stars from 
Philadelphia — and so Mary went anyway. It chanced that a 
family friend, Barry O'Neill, was a moving picture director; 
and he urged Miss Warren to come on in. She liked the idea, 
but she wanted her parents' consent first. Did she coax them 
into it? Suffice it to say that Mary went in and now Mary's 
folks never miss a movie on any program— just because 
Mary's in 'em. 

Mary began work in an Eastern studio — just bits, you know. 
But then a leading woman became ill and the director 
was in a quandary. (This also always happens, in the 
movies.) Mary Warren stepped in and saved the day. 
She made a hit and she started West to add fortune to 
her fame. At Triangle she played minor roles for a 
while; and then luck came her way again, when "The 
Sea Panther" was filmed. They needed a girl of her 
type to play opposite William Desmond in this story 
of adventure; Mary passed the test, and — made good! 

She continued bright and willing, and never disputed 
the director when he told her to clasp her hands and 
gaze at the leading man as though she meant it, and 
bite her lip to keep back the tears, and all those things 
that are part of a movie actress' gay life. Mary had 
ideas of her own, however, about looking up at the 
hero, and biting her lip — she would bite her upper lip 
instead of her lower lip, which made it much more 



Stifling the 
Te a r s 



Mary V/arren bit her upper lip 
instead of the lower — and 
that's the sort of actress she is. 



unusual — and she emoted in her own little way when 
the director glanced away. And when "they" saw 
unreeled the first picture Mary made, they said, "She's 
there!" and led her to a desk where she took her pen in 
hand to write "Mary Warren" on* a nice contract. 

Later on came another opportunity, and as usual Mary 
grasped it with both little hands. She was featured in 
a comedy-drama, "The Vortex," and — made good again. 
Then she played opposite Desmond in "An Honest Man," 
and perhaps in this scored her greatest artistic success. 
And those who know her best, say she's still little 
Mary Warren. Oh, but listen — Mary answers all pro- 
posals from film fans with a gentle but firm, "I am 
already married." Friend Husband is Lee Phelps, also 
of Triangle. But she sends them all autographed pictures. 
But there's something more about Mary. When you 
ask her how she spends her spare time she doesn't wrin- 
kle her brows at you and murmur "Sir!" She'll just 
smile and say, "Oh, nothing ever happens to Mary." 

But we know that Mary has a cunning little bungalow 
in Hollywood, with chickens and dogs and cats and rab- 
bits; and a little garage which occasionally houses 
Mary's little speedster, and a diminutive orange-grove 
in the back-yard. 

By the way, the day we interviewed Mary she said 
she'd almost had sun- 
stroke that very morning 

while out picking oranges. 

And once in a while Mary 

goes to the theatre and 

very often she spends the 

evening in a picture the- 
atre — Mary always was a 

movie fan. And every 

one who knows her wishes 

her lots of success and 

ends up by saying that 

nothing is too good to 

happen to Mary. 




39 




Putting the Punch 
in "K" 

The producers who made over Mary 
Roberts Rinehart's popular novel, "K," 
were congratulating themselves that 
they had quite some punchy little title 
in "The Doctor and the Woman." But 
a Chicago loop theatre went 'em one 
better. They booked 'The Doctor and 
the Woman," but they weren't satisfied 
with the title. So they got out the red 
tickets and hung up a classy sign to 
this effect: "The Confession of a 
Woman." And the lurid lights on the 
posters wink maliciously at the passer- 
by: "You don't know the half of it, 
dearie; you don't know the half of it." 



Improving the 
Sunlight 



"Southern California," says an authority, 
"is the ideal place for picture-making. Here 
one works in the sunshine; in the open air. 
Here artificial lighting is a farce — Old Sol 
provides all the Cooper-Hewitts necessary. 
Here — " and so on. Well, he's all wrong, this 
prospectus guy. Here you see these lonely 
lovers shivering in midstream while the direc- 
tor and his assistants are doping out the light- 
ing system of sunny California. The why of 
the white screen is this: the faces of the actors 
are in shadow, and the screen catches the sun- 
light and reflects it back on the faces, making 
possible outdoor photography in Cal. The pic- 
ture was snapped when Reginald Barker was 
directing for Ince, and Charles Ray and Dor- 
othy Daltori were only mentioned in the cast. 



"Why, I 
Remember 
When- 




?? 



There isn't a single 
strand of crepe alfalfa in 
this collection of belshaz- 
zars. The gentlemen re- 
galing Edith Storey with 
reminiscences are real 
Forty - niners, inveigled 
into doing bits for the 
Storey-Metro feature, "As 
the Sun Went Down." 
The daddy of them all is 
"Pop" Taylor, third from 
the left, who at ninety has 
a standing challenge in 
riding and shooting 
against any man not more 
than twenty years his 
junior. Boys of sixty-five 
are beneath his dignity. 

40 




The Passing 

of Ethel 

the Great 

Ethel, the greatest 
lioness in the world, is 
dead; and Universal City 
mourns. For Ethel was 
born at the Universal 
City arena, trained there, 
learning almost human 
tricks, appeared in every 
Universal production re- 
quiring jungle scenes, and 
at the age of four years, 
died at the U City arena 
in giving life to young. 
Ethel's burial cavalcade 
was the strangest ever 
seen. An elephant swung 
the casket in his trunk; 
camels with their ship- 
like motion and nodding 
heads seemed to be chant- 
ing a requiem, and an 
orang-outang caught the 
sincerity of sorrow and 
buried his face in hairy 
hands. All the players 
who appeared with Ethel 
in the "Lion's Claws" 
serial formed the funeral 
procession. Ethel fortu- 
nately completed her part 
in the film before her 
death. The gifted animal 
used to like nothing bet- 
ter than to ride with her 
human co-star, Marie 
Walcamp; to have the 
chauffeur "step on it," 
and to see the telephone 
poles flash by like the 
teeth of a baby's comb. 



\ 


\ IjM 


Ml m$ 


J 


I 


\ 4 '^'^l 






iiS 










1 1 


If 









A variation of the camera below 
is used to get natural poses for 
portraits, as hundreds of "shots" 
can be taken at one sitting. 



IflflflTlWE 



MMMMMMM&& 




A Vest Pocket Movie Camera 

It was, of course, only a question of time until 
some ingenious person would make a moving pic- 
ture camera that would bear the same relation to 
the big machines they use in picture studios, as 
the pocket kodak does to the portrait camera. 

An Italian inventor seems to have done it. His 
camera is a compact affair which uses an ordinary 
photographer's glass plate, five by eight and one- 
half inches. As the crank turns, this plate moves 
back and forth and up and down, until the equiva- 
lent of seventy-two feet of film has been photo- 
graphed. If the operator wants a longer picture, 
he simply puts in another plate. This plate is 
developed as those of your own camera. 

The projection machine, naturally, simply re- 
verses the method used in making the photograph. 
But as it uses glass plates there is no fire risk, and 
the ordinary electric current which supplies light 
to the home, is sufficient. 



I 



WWmfs&Vm Wm WW* vi*. wm 



Hands ? 



Both belong to 
actors famous as 
screen "westerners.' 
One's forte is the 
western "bad man, 
the other, sweet- 
rough cow-punchers. 
Left, Dustin Far- 
num's; right, Bi 
Hart's. 




41 



The Lady ? No, 
the Car! 



Hugh Thompson would rather 
ta\\ autos than pictures 

By Alison Smith 



AS a rule there is 
nothing more sim- 
ple than inducing 
people to talk 
about themselves. There 
are, however, three types 
that are consistent excep- 
tions — a mother with her 
first baby, a young girl 
with her engagement 
ring and a man who 
has just bought a 
car. I was already 
familiar with the first 
two and I discovered 
the third when I met 
Hugh Thompson. 
As soon as he invited 
me out to the 
garage to "look 
her over," I 
knew that the 





Apeda 

evening would be one long struggle to learn more 
about him and less about his machine. I was 
right. 

It really was a ducky, infant prodigy of a car, 
painted a gorgeous rich-but-not-gaudy blue. 

"What do you think of her?" its owner asked, 
fondly. 

42 



Mr. Thompson and Virginia Pearson in one of 
the strong moments of "A Daughter of France. ' 

I told him truthfully that I thought she was a pretty color. 

Mr. Thompson concealed his disgust politely and patiently began 
to explain the mechanical fine points of the motor. When I finally 
looked as if I had absorbed these details intelligently, I was invited 
to hop in. 

To obtain my interview, I saw that it would be necessary to be 
firm with him. "Mr. Thompson," I said, "I came here to hear 
about your career, not the car's. I write for Photoplay, you 
know, not Motor Life." 

And between skids and dashes and honks from the prodigy, I 
managed to gather the following: 

He was born in St. Louis, Missouri. (I found that much in the 
studio directory for when I asked him, he murmured something 
about f. o. b. Detroit.) He began his professional career in a 
church choir where he sang for the excellent reason that he was in 
love with the organist. He left the choir-loft for the vaudeville 
stage singing illustrated songs until, after some stock experience, he 
drifted naturally into the moving pictures. In his first film, he 
played the blackest of villains. 

We came to grief when we started a discussion of leading women 
stars. I was in the midst of a rather neat epigram of my own about 
a well-known vampire, when he suddenly announced. "Her clutch 
never loosens!" 

"Are you speaking of the lady?" I gasped. 

"No, the car," he answered. "Oh, you were talking about the 
disappearance of the vapid ingenue type, weren't you? Yes, I 
think she is becoming less popular. Was that her hood that rattled?" 

From that moment, our conversation was one huge chaos of 
crossed wires. 




James Gerard's adventures in Germany visualize some of the Kaiser's pleasant 
little pastimes. "The Kaiser" (at left) tells a story of the man's weaknesses. 



Propaganda! 



An earnest consideration of the inestimable part being 
played by the Motion Picture in the Great War. 

By Louella O. Parsons 



IF German vandalism could reach overseas, the kaiser 
would order every moving picture studio crushed to 
dust, and every theatre blown to atoms. 

There has been no more effective ammunition aimed 
at the Prussian empire than these picture stories of Ger- 
many's atrocities. 

First because the moving picture reaches such an enor- 
mous audience. Where the novel eight times out of ten 
presents a more logical discussion of the cause, and the 
stirring patriotic play has more claim to pur attention it 
only reaches the thousands, where the film is seen and ab- 
sorbed by millions. Moving pictures encircle the globe in 
every inhabited city, and are shown at a price which makes 
it possible for everyone to see them. 

These followers of the cinema have seen with their own 
eyes how German militarism is waged against civilization. 
They have seen the rape of Belgium, the devastation of 
France and the evil designs against America, Italy and 
France. They have lived over with these unfortunates this 
tragedy against helpless women and children, and with tears 
in their eyes and horror in their hearts have cried aloud 
for vengeance against this soulless nation. 

And while these film plays have been raising the temper- 
ature of the Allies' patriotism to blood heat, Germany has 
been gnashing its teeth. The natural question, Why 
doesn't Germany meet these attacks with similar moving 
pictures? brings back an answer attacking one place where 



Germany's widely touted efficiency is at fault. We do not 
doubt for the minute that Germany is making a strong 
attempt to come back at us with its own moving picture 
propaganda, but we who have studied the film situation 
since long before the war know that the kaiser's domain 
is not equipped to circulate any such productions as we 
have been viewing the last twelve months. 

And if it were it would not have an American audience 
to reach. We with our cosmopolitan DODulatJ^- pf hiked 
r*p ^ ±\Z to rea/h the very people Germany 'is strug- 
gling to get into its clutches. And again, if it had studio 
facilities, there is no story it could tell to gain sympathy. 
The allies have never invaded a Belgium, nor destroyed a 
France, nor waged any unholy war against defenseless 
women and children. 

The powers at Washington realized what a factor the 
screen would be in the war against William Hohenzollern. 
The declaration of war was not a week old when Presi- 
dent Wilson sent for W. A. Brady to co-operate with him 
in getting the moving picture industry in line. What the 
fifth estate did in the way of starting the ball rolling with 
its four-minute men. its patriotic strips of film and with 
the active assistance of the three Liberty Loan Campaigns 
is too well known to need further comment. But the big 
thing the film producer has done was to create within the 
year over sixty pictorial propagandas, or more than one a 
week. 

43 



44 

Not all of these mov- 
ing pictures have 
been intelligently con- 
structed. Some of them 
have been absurd and 
impossible; others have 
been written too ob- 
viously for financial 
gain, but the strong ar- 
gument is, that they 
have all sent people 
home thinking and 
planning of some way 
to be of service to the 
government. 

The government too, 
has been able to use the 
screen as a school of in- 
struction, a sort of mili- 
tary text book. By 
following the weekly 
films, the mothers at 
home, the fathers and 



Madame Sarah Bernhardt's 
"Mothers of France" has prob- 
ably called forth the most tears 
of any war film. 



Photoplay Magazine 




the younger children have been able to get a very fair idea 
of what the sailors and soldiers are doing in the military 
training camps. Every open phase of military life has been 
narrated in a most entertaining fashion on the screen. 

England and France have not been slow to realize the 
value of following America by presenting their righteous 
cause in a pictured story. An invitation was sent to David 
Wark Griffith to come to the fighting fronts and make a 
moving picture of the conflict for the English government. 
Mr. Griffith was asked to give a cinematic argument of 
why German militarism, like a cancerous growth, should 
be cut away before it further menaces civilization by its 
malignant presence. 

The adventures of David Griffith on those foreign shores 
are like a wonder tale of Aladdin and his magic lamp. If 
I had not heard the story from Mr. Griffith's own lips I 
might have accused someone of flirting with the truth. 
Conservative England received him as they might have 
received a visiting potentate. Lloyd George personally 
appeared before the camera with him; Queen Alexandria 
expressed a desire to meet the American whose magic 
would bring the war home to so many indifferent hearts, 
and social England, devoted to the war stricken country, 
helped by facing the camera. Such women as Lady Diana 
Manners, Mrs. Buller, Elizabeth Asquith, and the Duchess 
of Beaufort turned moving picture actress to have a part 
in the British war film. 

Government aid and official escort did not make the film- 



England and France have not been slow to realize 
the value of following America by presenting their 
righteous cause in a pictured story. Social 
England devoted itself to film propaganda, 
under the direction of David W. Griffith — 
such women as Lady Diana Manners, Mrs. 
Buller, Elizabeth Asquith and the Duchess 
of Beaufort. At extreme left is Mr. Griffith. 



ing of this picture as simple as 
it sounds. To get the great 
panorama of battle in action, 
the moving picture camera 
had to be carried into the 
front line trenches. Shot and 
shell and gas explosions be- 
came a part of the daily 
Griffith menu. After the 
camera was blown to bits on one occasion, care was taken 
to make a facsimile of every battle scene filmed, so a 
retake could be made in the California studios if it should 
be necessary. 

The last time I talked with Mr. Griffith, he was greatly 
upset at the reports that the Germans were planning to 
invade Ham, Amiens, Ypres and Chalnes. 

"Some of those villages," he said, "are the very spots 
in which I established my temporary studios. The villagers 
were deeply interested in the moving picture which was to 
carry a message to the outside world. Old men., women and 
children left at home gave freely of their hospitality. 5 ' 

This eighteen months' work in France and England re- 
sulted in a combination romance and history. The bleak 
desolation of "No Man's Land" with the grim, smoke- 
stained soldiers are the "supers," who played in this picture 
as earnestly as they "play" "over there" in the big war 
drama for your freedom and for mine. 

The great stretch of devastated territory, with its ac- 
coutrements of war, its trenches and barbed wire fences, 
are all pictured as accurately as though we were standing 
there, gazing at the tangible result of German kultur. 

James Gerard's adventures in Germany have also been 
screened to visualize for us, some of the kaiser's pleasant 
little pastimes. It was thought this would show those of 
German birth why we are fighting their fatherland. I 
heard one woman say after she had been taken on this 
screen trip to German prison camps, and to the German 
court: 



Propaganda 



45 



A scene from Griffith's "Hearts of the 
World," showing Lillian Gish demon- 
strating the cruelties perpetrated by the 
Hun invaders in France. 



"I shall never rest now until I have joined the Red 
Cross or done something to stop those despicable 
Germans. Now I believe everything I have ever 
heard of Hun cruelty!" 

Mr. Gerard's decision to put his book into pictures was less than a week 
old when I talked with him at the Ritz-Carleton in New York. 

''I am permitting my book to be made into pictures," he said, ''because 
it is an historical document revealing the true conditions in Germany. I 
believe many people are ignorant of the extent of German autocracy and 
the dastardly intrigue that led Mr. Wilson to recall me. I am interested 
in having my experiences filmed because I know they will reach a large 
number of people who have not yet been brought to an understanding of 
the big principle involved in our war." 

Mr. Gerard cited as an example of German cruelty, a Serbian boy who 
was made to bleed at the ears, nose and mouth as sport for some German 
officers. The lad is now safely at work in this country trying to .re- 
cuperate. 

"The Kaiser" is an intimate character study of Wilhelm and tells 
a story of the man's foibles and weaknesses. It is said to be founded 
on fact. His insanity, arrogance, and colossal conceit are emphasized 
to give people an insight into the character of the man, who is the 
guiding hand in all the most horrible outrages committed in the name 
of war. 

J. Stuart Blackton probably made the first patriotic picture 
drama. Three or four years before America had any idea of 
throwing her hat in the ring Commodore Blackton had an inspira 
tion to make a picture calling for preparedness. This was accom- 
plished with the friendly co-operation of Theodore Roosevelt, 
another advocate of the "Awake America" slogan, and Hudson 
Maxim, inventor of the Maxim silencer. 

The first war film child was christened "The Battle Cry of 
Peace," and as we look back over the years it seems very crude 
and amateurish. There were no real troops present, nor any 
government officializing the picture, to make it a bona fide war 
drama. But it served its purpose in keying people up to the 





It is the wish of Rita Jolivet to show her Lusitania memorium, "Lest We 
Forget" in France, England and Italy after America has digested its message. 



declaration of war. 
A companion piece 
to this was issued last 

year, an appeal to American manhood to fight to 
protect the purity of its womanhood. It has faded 
out of the memory of the public, and had despite 
its splendid theme, very little to mark it as a per- 
manent play. 

Secretary of the Treasury McAdoo reckoned on 
the affections of the American public for the most 
prominent moving picture stars when he sent them 
out to assist in the Third Liberty Loan Campaign. 
Mary Pickford's popularity succeeded in extracting 
millions from almost that many pocketbooks. Be- 
fore little Pickford gave her time, her beauty and 
her personality to the cause, she made a picture 
founded on the sinking of the Lusitania. It was 
about the second patriotic effort attempted and was 
exceptionally successful for such a small feature. 

"I determined," Little Mary told me, "to use my 
influence on the screen in getting recruits before 
conscription became a law.'' 

But Miss Pickford had no idea she was starting a 
tempest in a teapot with her anti-German propa- 
( Continued on page iioj 




The Little Angel in the Home 



w 



E can't Forget 
The Little Angel-in-the-Home. 



We have One 
In every good Sob-Fillum. 
Always 
It has Parents 
Whose Psychic Numbers 
Just Can't Agree. 
But Never Mind- 
One needn't Worry 
About one's Private Affairs: — 
The Little Angel-in-the-Home 
Will Attend to It. 
Usually 

It is Sugared in Luxury; 
But Sometimes 
The scenario-writer 
Forgets himself, 
And Makes It 
A Poor-Child:— 
An Orphan, or Something. 
But then, 
It Always 

Gets Itself Adopted; 
So Everything 
Is Quite All Right 
In the Same Old Way. 
Its Intelligence 

46 



Is wonderful- 
It Plays, 
And Everything. 
It is 

Twelve years' Growth 
Crowded Into 
A Mis-Calculated Frock 
And Six Years' Understanding. 
It is Always Dressed 
As if for A Party. 
It Stages more Romances 
Than Old Dumas ever Dreamed of- 
After Fixing 
Dadandmother, It 
Goes After 
Sister, or 
Auntie, or 
Anybody. 
It is Always 
Toddling-In, 

In Its Little Night-Things, 
No Fire-side Reverie 
Is Complete without It. 
It Climbs 
Everyplace. 
One never Knows 
If one will Find It 
In One's Pocket, or 
In the Sugar-Bowl. 



It Jumps Up and Down, 

And Claps Its Hands. 

(I Asked 

The Answer-Man about It, 

And he Said 

That Meant 

It was Registering 

Joy.) 

Where oh Where 

Is that Estimable Man 

Who Went-Around 

Sticking Pins 

Into Children? 

I would Like 

To Shake Hands 

With him. 

Your Last Glimpse of It 

Is in the Great Reconciliation, 

Where it Climbs Blithely 

On the Mantel-piece, 

And Pushes Mother 

Into Daddy's Anns, 

And Imprints Its Sticky Kiss 

On each Sufferer. 

We Can't Forget 

The Little Angel-in-the-Home. 

(Honestly, Now, 

Isn't Nature 
Wonderful?) 



Do You Believe in Fairies? 

The happy romance of Lila- Lee indicates their presence around us 



They called her " Cuddles " 
back in the gingham frock days 
and the name ought to live on. 




By 

Jerome 

Shorey 



I 



F you were a 

little girl of 

five, or maybe 

half-past, and 

a man came along 

in an automobile 

and whisked you 

off the curbstone 

where you were 

sitting and singing 

"Ring Around a- 

Ro sy , " and 

dressed you up 

like a great big 

doll in a Christmas 

window, and took you 

to a theatre and put 

you right out on the 

stage where all the lights 

were shining ever so blinkety, 

would you believe your good fairy had 

something to do with it, or wouldn't 

you? 



And if, when you had grown up to 
be a great big girl of fifteen or sixteen, 
and had seen a lot of moving pictures, 
and thought they were wonderful, and 
wished you could do it too, — if another 
man came along then and said, "I want 
to make you a star" — just like that — 
would you believe your good fairy was 
on the job again, or wouldn't you? 

That is the history of Lila Lee, the 
romance of "Cuddles." It is such a ro- 
mance as occurs hardly anywhere but 
in that world of romance, the realm 
of the theatre and the movies. Many 
a Cinderella has found her way to 
fame and fortune thus unexpectedly in 
the world of make-believe. Mae 
Marsh, Mabel Normand, Norma Tal- 
madge, Mary Pickford — girls who 
were never, or hardly ever, heard of 
became famous overnight when their 
good fairies led them into the magic 
light of the Kliegs. 

So Lila Lee, whose little feet are, , 
hesitating on the brink of sixteen, is 
the latest wonder child to receive this 
fairy gift. Her story is the greatest 
romance in the world for it is the 
romance of success. Success is a 
curious thing. To some it comes only 
after long study and effort aimed con- 
stantly in a single direction. To 
others who study just as hard and are 



47 



4 8 



Photoplay Magazine 



just as persistent in their aim, it never comes at all. But 
to the favored ones, it comes no matter what they may be 
doing, no matter what they may be planning, no matter 
if they are not doing or planning anything at all. 

So it was with Lila Lee. She was sitting on the curb- 
stone, one day eight or nine years ago, when Gus Edwards 
happened to drive along on his way to the theatre where 
one of his revues was having a tryout. He had a song in 
ihe revue, 'Look Out for Jimmy Valentine," and wanted 
a little girl to appear with the singer. 

"There's the sort of girl I want," he said to a man with 
him in the car, pointing to Lila, humming away on the 
curbstone. He went to her and asked her if she would 
like to go on the stage. She didn't know what a stage was, 
but s'posed it would be all right if she asked mamma. And 
Mamma said Lila would be better off on the stage than 
in the street, for Lila's mother was not very well off, and 
hadn't time to watch the baby every minute. 

So Lila went to the theatre, and took to it as naturally 
as if it had been the street out in front of her own home, 
and she was merely playing with the other children of 
the neighborhood. She never knew stage fright, she was 
a natural mimic, and in her face, even in those baby days, 
there was a haunting wistfulness, a suggestion of tragedy 
even in her happiest moods, almost the expression of a 
Madonna. Her dark hair and eyes emphasized this depth 
of mysticism. She was a find. Within a few weeks 
instead of being merely the girl that somebody had along 
with her when the song was sung, Lila — they called her 
Cuddles in those days — sang the song herself, and she 
has been the star of Gus Edwards' revues ever since, until 
last spring. 

Then came another unexpected opportunity. Jesse 
Lasky used to be a vaudeville producer 
himself. Naturally he frequently saw 
the Edwards revues, and 
so he saw and noticed 
Cuddles. To see her 
was to remember her. 
Such a face as 
hers is not 
easily for 



"A raven, poised, 
shimmering, o n the 
prow of a cloud-tinged 
sunbeam" is an im- 
pression evoked when 
gazing at the above 
study of Lila Lee. 




Lila Lee as she 
used to be — and 
it wasn't so very 
long ago, either. 



gotten, and Mr. 
Lasky is a connois- 
seur in faces. He has 
made many quite well 
known to the great Ameri- 
can public. Cuddles be- 




gan growing up into exquisite young womanhood, 
and Mr. Lasky laid opportunity No. 2 at her feet. 
He wanted to star her in moving pictures. 
Lila Lee had thought of pictures, of course. What 
young woman on the stage has not?. But she never 
thought of them seriously as a career for herself. She 
was too busy being the biggest little girl in vaudeville. 
Her natural precocity had developed into a "intelligent 
SU.rcness q| touch that made her a mature woman in art. 
while only a child in years and appeal. This was not 
accomplished without work. Mrs. Edwards herself 
adopted Cuddles, professionally speaking, and traveled 
with her, season after season. The little star's own mother 
was not attracted by the footlights, and made her home 
with relatives in Chicago when her daughter became a 
personage. The careful tutelage of Mrs. Edwards and 
the advantages of constant travel, formed the major part 
of Lila Lee's education. Not that the other branches were 
(Continued on page 113) 



The EAGLE'S EYE 



By Courtney Ryley Cooper 



From Facts Furnished by WILLIAM J. FLYNN, Recently Retired Chief of U. S. Secret Service 

Compiled by him as the government's chief agent in the defensive secret warfare against the Kaiser's plots and spies in America. 

Novelized from the photoplay serial produced by the Whartons. 



CHAPTER XVII 

Germany's U-Base in America 

COUNT VON BERNSTORFF, the Imperial German 
Ambassador, had turned the raid conducted by the 
U-53 to his own financial advantage. As the last 
torpedo sped on its way of destruction of shipping 
just outside the three-mile limit on the sea coast of Amer- 
ica, he was seated in the New York offices of Broker Blank. 
"The market's falling steadily," chortled the broker. 
"Our winnings are already one hundred thousand." 

"Our opportunity will be greater to-morrow," Bernstorff 
said. "It is generally known that the great work to-day 
exhausted the supplies of the submarine, and when it be-^ 
gins over to-morrow the falling off in stocks will be 
enormous at the realization that Imperial Germany 
able to supply her boats here." 

The men stepped out of the office and onto the 
balcony of the stock exchange. After watching 
the screeching mob on the floor, Bernstorff sud- 
denly looked at his watch and then 
hurried away, leaving the ex 
ultant broker admiring the 
breaking down of the prices 
of American industries. 

He was still gloating over 
the scene when his wife 
found him. She could not 
hide the look of disgust on 
her face as he turned 
toward her. Oblivious 
of this, he grasped 
her hand and was 
suddenly brought to 
himself when she 
jerked it away. He 
looked at her sur 
prised and 
then, appre- 
ciating the 
reason for 
her intol- 



I thought you cared 





erance, he spoke pleadingly: 

"I didn't force you on Bernstorff. 
for him." 

He failed to notice the look which swept over her face, a 
look caused by an inspiration as a means of revenge on him. 

"The information you've gotten from him has made me 
rich," he continued, firm in the belief that money could 
compensate her for her outraged womanhood. "Richer 
than I ever dreamed." He dropped into silent, contented 
musings, but his wife turned on him suddenly, her eyes 
flashing. 

"There's a great deal wrong," 

whispered Dixie. "There's a 

plot on. Gather up your 

l. We haven't any 

time to lose ! " 

"Yes, on 

money stolen 

from Amer- 

i c a . You 

traitor." 

The dis- 
gust in her 
voice 
aroused 
a n intense 
anger in him. 
He made a 
sudden lunge at 
her, but drew 
himself up short as 
the door opened to 
permit the entrance of 
von Bernstorff. The Im- 
perial German Ambassador 
did not even greet the broker 
and hurried to the side of Mrs. 
Blank. In keeping with the method 
of revenge which had occurred to her, she 
;reeted hfm effusively. The pleasure she 
showed at seeing von Bernstorff aroused 
new passions in both the men. The Am- 
bassador felt that perhaps his plans in 
regard to her were possible of fulfill- 
ment, and to the husband came the 
dawning of a gnawing jealousy. 
Neither man would have given a 
second thought to the woman 
could they have known of what 
was happening in another part 
of the city. Dixie Mason had 
stopped just long enough for a 
change of clothing after she had 
been landed by the destroyer 
which had picked her out of the 
ocean after her reckless dive from the 
submarine, before hurrying to the Crim- 
inology Club. She told Grant she in- 
tended to accompany the raiding force to 
the location of the submarine base which she 

49 



So 

had brought to him. With all the men available in the 
club the start was made. 

Their goal was a little shack on the sea coast, which on 
this October afternoon presented a scene of unceasing ac- 
tivity. Under the directions of Captain Franz von Papen. 
Heinric von Lertz and Baroness Verbecht a score of men 
were ripping open packing cases and unloading torpedoes, 
ammunitions, oils and other supplies which the U-53 would 
need to continue the campaign against shipping. 

"This is bad business," remarked von Papen, "putting 
all our eggs into one basket. While the chance of discov- 
ery is small, it is best to be prepared. We will place suffi- 
cient supplies in the launch and let that put to sea against 
the arrival of our glorious submarine." 

Scarcely had the launch been loaded before the periscope 
of the Hun raider could be seen by von Lertz, who had been 
scouring the ocean with a telescope. In a time so short 
that it attested to the speed of the craft it was at the im- 
provised dock fully above the surface and von Papen was 
on board greeting Boy-Ed and Captain Rose. Von Lertz 
remained at the hut, still using the telescope nervously 
sweeping the surrounding country. Suddenly he started. 

"Quick," he screamed. "'To the submarine. Tell them 
that the devil. Grant has found us." 

As a man bounded away, von Lertz turned to those who 
remained : 

"Everything into the shack. They must find no evi- 
dence. Baroness 
Verbecht ! Take 
the small launch 
and let von 
Bernstorff know 
what has hap- 
pened. Tell him 



Photoplay Magazine 




the launch will supply the U-53 at Berwin lighthouse.*' 

Already the U-53 had disappeared beneath the waves, 
carrying von Papen with it. The launch swung swiftly out 
into the stream, and Baroness Verbecht was on her way. 
At the shack the packing cases, torpedoes, ammunition and 
other excess supplies had been heaped into a great pile. 
Heinric von Lertz ordered the men to flee for their lives, 
and then touched a match to excelsior near the door and 
fled. 

Harrison Grant had seen Heinric von Lertz at the same 
moment the Hun spy had discovered his presence. The 
president of the Criminology Club ordered his men to cir- 
cle through the woods and soon all the Germans fleeing 
from the hut were in custody, all of them except von Lertz. 
The spy had fallen a victim to his own violence. The ex- 
plosion of the hut had come sooner than he expected and 
the concussion threw him to the ground stunned. 

He was prone on the ground when Dixie Mason came 
upon him. He raised his head and at the sight of her he 
staggered to his feet and toward her with a glad cry. 

"Hands up," she ordered sternly, bringing into his sight 
a small automatic revolver. 

Suddenly von Lertz leaped, struck the gun from her hand 
and aimed a terrific blow at her. Though his aim was 
bad, she was knocked over and into the underbrush, just 
as Harrison Grant, who had heard the shot, broke through 
the trees. Grant's blow was aimed truly and a few sec- 
onds later von Lertz was nursing a bruise under his eye 
with handcuffed hands. But he smiled at the thought that 
Grant could never suspect that the L T -53 would receive sup- 
plies, despite the destruction of the base. 

Von Lertz, however, did not know of the progress of his 
chief's courtship of Mrs. Blank.- When the Baroness Ver- 
becht arrived at the office of the Imperial German Ambas- 
sador she found Mrs. Blank there, and von Bernstorff 
elated over the supposition that she had left her husband. 
But the news which the Baroness carried could not wait 
and Mrs. Blank was in an adjoining room when the mes- 
sage was given Bernstorff of the arrangements which had 
been made for supplying the U-53 when the destruction of 
the base was necessary. 

Risking everything, Mrs. Blank grasped the telephone in 
the room and called hurriedly for the office of the president 
of the Criminology Club. 

Launch will meet U-53 at Berwin lighthouse with sup- 



" We'll attend the Hindu 
party," smiled Grant. 
"We — you and I — 
seldom find time for 
social gadding. " 



The Eagle's Eye 



Si 



plies," Mrs. Blank whispered hoarsely into the telephone. 

Grant summoned the same men who had been with him 
to the supply base, and notified the harbor police. By the 
time the operatives had arrived at the dock a speedy police 
launch was waiting. 

The launch lying off the lighthouse was easily picked up, 
but by the time the Criminology Club members were on 
the boat the boat was in flames. The Germans still pur- 
sued their policy of leaving no evidence. Those on board 
were made captive. 

The flames, lighting up the darkening sky, made a spec- 
tacular but disheartening picture on the reflector of the 
periscope of the U-53. Cap- 
tain Rose suddenly spoke. 

"That means, gentlemen, 
that no time must be lost in 
starting for Zeebrugge," he 
said. "We have barely oil 
enough to reach there." 

Boy-Ed nodded, but von 
Papen, shaking his fist 
toward the American shore, 
muttered: 

"Luck has been with you, 
but Imperial Germany will 
triumph over you and all 
others opposed to the Kaiser. 
The power is great and is 
now working within your 
boundaries in a direction 
you will never suspect until 
vou are smitten." 




William J. Flynn, recently retired 
Chief of the U. S. Secret Service, 
knows probably better than any 
other American the staggering extent 
of secret warfare on America by 
Imperial Germany. Summarized 
below are the revelations of German 
intrigue as exposed in previous in- 
stallments. This installment, carrying 
the reader to America's entry into 
the war, ends "The Eagle's Eye." 



SYNOPSIS 



CHAPTER XVIII 

"The Great Hindu Con- 
spiracy" 

"If you ladies are ready?" 
Count von Bernstorff smiled. 
"Dr. Albert will be waiting, 
and we may be late for the 
ceremony." 

Baroness Verbecht and 
Mrs. Blank rose from the 
luncheon table at the Ritz- 
Carlton and were soon speed- 
ing across Xew York to the 
Hohenzollern Club where 
Dr. Albert joined them. 
Then the machine carried 
them far into the country to 
turn into the yard of a large 
rambling farm house. 

"We are just in time," re- 
marked Dr. Albert. 

From inside came the 
droning of a deep-toned gong 
striking slowly. Guided by 
Dr. Albert the party went through a heavily tapestried 
hall into an incense laden room hung on all sides with 
heavy velvet curtains. The room was thronged with well 
dressed persons of both sexes. 

Suddenly the lights were extinguished and then a glow 
on a raised platform at one end of the room revealed three 
figures garbed in the conventional turban and robes of the 
devout Hindu. 

"That is Dr. C. Chakraberty in the center," whispered 
the Baroness to Mrs. Blank. "On the right is Dr. E. 
Sekunna and at his left is H. L. Gupta." 

Then followed a long ceremony of worship and a lecture 
by Dr. Chakraberty, all the time with the room in dark- 
ness except for the glow at the platform. Throughout it 
Mrs. Blank could not shake off a feeling that the affair 



HARRISON GRANT, president of the Crimi- 
nology Club, appointed by Chief William J. 
Flynn to help the United States Secret Service track 
spies of Imperial Germany who are waging secret 
warfare on America, has succeeded in preventing 
the torpedoing of the Atlantic Fleet flagship, a whole- 
sale destruction of commodities bound for Europe, 
and a strike that would stagnate all eastern America. 

Dixie Mason, a beautiful Southern girl, also work- 
ing secretly for Flynn, aids Grant, and together they 
save from destruction a guncotton works and the 
Welland Canal. 

Von-Papen and Boy-Ed, German agents, are in- 
formed by Ambassador Bernstorff that America will 
deport them ; and they decide on a reign of terror in 
America upon their departure. 

Fires in New York harbors, an infantile paralysis 
epidemic, cotton-crop ruinations — these holocausts 
are all traced to German spies. Grant is aided im- 
measurably in his work by the patriotic wife of a 
Bernstorff tool, Mr. Blank. 

The German U-boat 53 touches at Newport for 
Boy-Ed, and Dixie boards it. Despite Dixie's inter- 
vention, ships are torpedoed and the U. S. S. West 
Point shelled. Grant learns of Germany's intention 
to assume tha first offensive 6n this side pf the 
Atlantic by torpedoing every ship from New York 
before it is ten miles beyond the three-mile limit. 
He also learns of the submarine base in Maine. 
Dixie obtains important papers and escapes from the 
U-boat. A United States destroyer picks her up. 



was merely a subterfuge to cover something else in which 
von Bernstorff and Albert were interested. The cere- 
mony seemed to be too futile a thing to arouse the interest 
of the German arch conspirators. 

When the lights were again turned on, the trio which 
had occupied the stage had come down into the audience. 
Mrs. Blank found that von Bernstorff and Dr. Albert had 
left her and the Baroness Verbecht. This but increased her 
suspicions and when the Baroness Verbecht left her and 
disappeared behind one of the curtains her suspicions be- 
came a conviction. 

A few days later when a package was delivered for the 

Baroness at the hotel, which 
contained a number of invi- 
tations to an affair at the 
farm-house, Mrs. Blank de- 
cided that perhaps Harrison 
Grant and Dixie Mason 
could solve the puzzle. The 
package contained a large 
number of invitations and 
was accompanied by a note 
which the Baroness care- 
lessly left on the table. 

"Am enclosing sufficient 
invitations to cover anyone 
you may deem necessary. C. 
Chakraberty." 

Noting that the statement 
contained no mention of the 
number of invitations which 
the package contained, Mrs. 
Blank took two of them and 
a few moments later they 
were being carried by mes- 
senger to the Criminology- 
Club. 

There they caused some 
wonderment . Harrison 
Grant and Dixie Mason, 
with other members of the 
Club, were puzzling over 
messages which had been re- 
ceived from the wireless sta- 
tion at Sayville. Each one 
was the same. A word, then 
a meaningless jumble of let- 
ters, another legible word 
and then some more letters 
without rhyme or reason, 
and so on through to the end. 
The legible words made a 
coherent message, of an in- 
nocent nature, which did not 
fit any Imperial German 
code of which the experts of 
the club were cognizant. 
Harrison Grant stated his 
conclusions in regard to the invitations aloud: 

"If it is a decoy we may learn something by letting them 
spring it. It may be, however, a tip from some one inter- 
ested who had no chance to enclose an explanatory note." 
He added, now smiling, "however, we'll attend this 
Hindu party. I think we — you and I — seldom find the 
time for social gadding." 

Accordingly, Dixie Mason and Harrison Grant were 
among the throng who attended the next affair given by 
the Hindus. Grant had scarcely entered the doorway when 
he recognized Mrs. Blank, who was again in company of 
von Bernstorff, and at once the sender of the invitations 
was known to him. 

He left the soiree hurriedly, and made but one stop on 
the way to the Criminology Club. This was to pick up a 



52 

Hindu college student. At the club the wireless messages 
which had so long puzzled Grant were turned over to the 
Hindu. With barely a glance he pronounced the jumble of 
letters, which had appeared so queer, to be Hindu words, 
and began immediately deciphering the messages. He 
worked rapidly and made copious notes while Grant, Dixie 
and the rest waited. As he laid down the last message 
which had been intercepted, he gathered up his notes, and 
with a grave face, spoke slowly: 

"Gentlemen, these messages are all concerning one thing 
— a plot to cause a rebellion among the savage tribes of 
India. Propaganda which has a cunning appeal to men of 
influence there has evidently been scattered. There are 
shipping orders in regard to vast quantities of arms which 
have been assembled at a place designated as the Temple 
of the Oracles. Another orders a delivery of hand 
grenades to a training school for recruits near 
Paterson, N. J. There are a great many 
other things here which are not clear to 
me. God grant that it may be 
stopped." 

Grant had understood a great 
deal better than the Hindu, 
and already his plan 
of action was 



The I. W. W. 
members, not 
knowing their 
leader was gone, 
could see only 
Grant and rushed 
toward him. 
Grant was ready. 



Photoplay Magazine 



mapped out in his mind. Hasty raids might be harmful 
through warning the leaders. Before disclosing his hand 
he wanted to be certain that he knew all the ramifications 
of the conspiracy. 

One thing, however, could be done. The German ele- 
ment would have to be removed from the Sayville wireless 
station before matters had progressed farther. 

The following day Dixie and he were again at the farm- 
house, or in the Temple of Oracles. Mrs. Blank was again 
present but left shortly after the arrival of Grant. In 
leaving she had time to press into the 
hand of the leader of the Criminol- 
ogy Club a clip of cartridges. Feel- 
ing that Mrs. Blank knew more 
than she had been able to tell him. 
Grant whispered hur- 
riedly to Dixie: 
"Wait until 
after the 



i 




The Eagle's Eye 



ceremony for the raid. The men can get in position in the 
darkness. Arrest everyone who cannot show A No. i cre- 
dentials." 

Then he hurried out after Mrs. Blank. The trail led 
directly to the Ritz. Here the party was joined by Baron- 
ess Verbecht and hurried immediately to the apartment of 
the women. Grant fumed in vain for an excuse to follow. 
Finally he made himself known to the chief of the bellboys. 

"Certainly, sir," said that individual. "You will be per- 
mitted to answer any call that comes from Mrs. Blank's 
room." 

The call was a strange one. It was for a bottle of acetic 
acid. Grant hastily procured it and his ring on the door 
of the apartment was answered by Mrs. Blank herself. 
Her look of surprise changed to one of glad welcome. 

"I don't know what I would have done alone," she whis- 
pered. "Those cartridges I gave you were thrown away 
carelessly by von Lertz this afternoon. When we got back 
to the hotel to-day, I was left alone while Dr. Albert, von 
Bernstorff and the Baroness talked in low whispers in the 
other room. I heard enough to know that they think a 
messenger to San Francisco must go at once because of the 
arrest of some Germans at Sayville. Dr. Albert wrote the 
message in some invisible fluid on the bare shoulders of the 
baroness, and she is packing now to start on the trip." 

"She is now alone?" questioned Grant. 

"Yes," answered Mrs. Blank. 

"Get her into this room by any pretense." 

Knocking on the door to the adjoining room Mrs. Blank 
half dragged the reluctant Baroness into Grant's presence. 

"My dear baroness," she said, "I want you to meet Mr. 
Grant, the president of the Criminology Club. It would 

be such a shame if 
you should start 
on your journey 
with such an 
po r t a n t 



J 




53 

her waist from her shoulders. Grant hastily grasped the 
German spy by the wrists and held her firmly while Mrs. 
Blank poured the acid upon her shoulders. Slowly in let- 
ters of angry red the following message became visible: 

"Ram Chandra: Communications via Sayville have 
been stopped. Start mutiny at once. Delav is dangerous. 
Albert." 

Grant placed Baroness Verbecht under arrest. 

She was but one of many prisoners taken that day. 
Dixie Mason and her party had cleaned the Temple of 
Oracles of spies. Another raiding party had attended to 
the school for recruits near Paterson which was found to 
be under the tutorship of Dhiranda Kumar Sarkar. The 
American police attended to the nests of conspirators in 
California and Washington State, while the Northwest 
Mounted Police made a good bag in Vancouver. 

Thus ended the dream of Germany for an uprising in 
India, and when the news reached Kaiser Wilhelm he was 
engaged in personally revising the answer to the United 
States on the U-boat question. Still raging at America he 
turned his attention to the note and dictated the part which 
made American blood boil when it was made public. 

"Your highness!" his minister ejaculated. "Is not that 
a trifle abrupt? It may bring about war with America." 

But the head of the Hohenzollerns was insane with rage 
at the frustration of his plan. 

"War? From that idiotic nation — and its contemptible 
little army?" 



CHAPTER XIX 
The Menace of the I. W 



W 






message without 
meeting him." 

Fear in her eyes, 
the baroness tried 
to appear puzzled. 
She broke into 
angry denials in 
the midst of 
which at a glance 
from Grant. 
Mrs. Blank tore 



It was two days later that Mrs. Blank sought Harrison 
Grant in his offices at the Criminology Club. She smiled 
as she told of the anger of Bernstorff at her denunciation 
of Baroness Verbecht. Then she bent forward with a sud- 
den seriousness. 

"Do you know anything of any trouble at Old Forge, 
Pennsylvania?" she asked. Grant looked up. 

"The coal mining town?" he asked. "Yes. But so far 
there has been nothing for the Secret Service. It seems 
that the I. W. W. is trying to force legitimate members of 
Union Labor to join their organization and are try- 
ing to intimidate them by blowing up houses and 
committing other depredations. What information 
have you?" 

"A great deal. When Bernstorff was quarreling with 
me over the arrest of Baroness Verbecht, he became 
very angry and drew forth a wallet, saying that per- 
haps money would keep me from telling secrets. Then 
he slammed the wallet on a table and some papers 
flew out. One of them was a telegram from 
Heinric von Lertz saying that everything 
was going nicely at Old Forge and that he 
was hurrying there to personally supervise 
matters." 

"And that means," said Harrison Grant, "that Imperial 
Germany is behind the I. W. W.! I will leave for Old 
Forge at once! " 

Three days later, Dixie Mason, of the Secret Service, 
received a very dirty letter, written on the poorest of sta- 
tionery. It read: 
"Dearest Dixie: 

"Am writing this in the back room of a saloon. I 
am here under the name of Guiseppe Fantona. Will 
be able to handle everything that goes on in the men's 
side of the I. W. W ., where Angelo Faggi, a refugee 
from French and Italian justice, Joseph Graber, a 
German, Stanley Dembriki and Frank Little are acting 
as the go-betweens for Imperial Germany, but need 
your assistance with the women, as they have a sort 
of auxiliary here, composed of women, whose duty is 
to go from door to door, trying to stir up trouble with 



9< 



54 



Photoplay Magazine 



miners' wives while their husbands are at work in the 
mines. I would suggest that you get hold of all the 
I. W. W. literature possible and come here as an 
I. W. W. agitator. Be careful, however, as Heinric 
von Lertz is in town — and may recognize you. 

'Harrison Grant." 

Dixie obeyed the summons. Soon she had taken her 
place among the women agitators of the I. W. W. in Old 
Forge, ready to undertake any work that the leaders of the 
1. W. W. might set for her, that she might the better learn 
their plans. 

One day, Dixie Mason sped forward to catch Harrison 
Grant, as he was leaving the I. W. W. headquarters. 

"There's some trouble going on at the mines," she an- 
nounced: "we've just gotten orders to hurry there and 
cause a demonstration." 

Grant nodded. 

"I just got the same sort of a tip. I think it's a blind. 
I heard orders given to that man just going up the street 
to report back as soon as the state constabulary had its 
hands full keeping order at the coal mines. Come on, we 
must shadow him." 

They started forward. A moment later, from the direc- 
tion of the mines, came a great sound of crashing timbers, 
of screams and the sight of a rising swirl of coal dust. 
Men and women appeared running from every direction. 
The clattering of hoofs and the constabulary thundered 
past. Grant leaped to the center of the street. 

"Someone has released the brakes of a dump train," he 
called. "It has crashed back into the shaft of the mine. 
Miners have been injured. The trouble's on. Keep that 
man in front in view — don't lose him!" 

They hurried on, still watching the form of the hurrying 
spy before them. They saw him rush to a corner where 
he might watch the milling figures at the mine dump, then 
stand there, his eyes roving in every direction. A fight 
had started at the dump between legitimate laborers and 
the I. W. W. agitators, who seemed to have sprung from 
nowhere. Then, finally, Dixie and Grant saw the spy on 
the corner suddenly turn and run. 

"After him — quick!" ordered Grant. "He's the one who 
will point out the real 
danger!" 



Down the street the spy ran, Dixie and Grant following 
him closely to a great warehouse-like building, where one 
or two other men could be seen entering. The two detec- 
tives skirted the building, approached it cautiously. Here 
and there were great doors from which shipping had em- 
inated in other days — but each was carefully locked and 
bolted now. Grant pressed his ear against one of these — 
to hear the jabbering and shouting of great numbers of 
men. He turned and, seeking a foothold, raised himself 
that he might peer through a corner of a window imper- 
fectly covered from within. 

"Dixie," he whispered. 

"Yes." The girl was close beside him. "Do you see 
anything in there?" 

"Yes. A whole mob of I. W. W.'s. Heinric von Lertz 
h on the platform, talking to them. They're bringing out 
parcels of something. Laying them on the platform so 
that they can be reached easily. Hurry — " Grant 
turned, his face ashen. "Get the constabulary, quick! 
It's dynamite!" 

Dixie Mason was pressing every muscle to the utmost 
as she ran through the vacant lots and back to the mines 
that she might summon the members of the mounted police. 
Grant remained a minute longer at the window, then sud- 
denly dropped to the ground and again began to skirt the 
building. 

Here, there, everywhere he searched, at last to come 
upon a back room to the building, separated from the main 
room. He pressed against the door. There was a rusty 
creaking of the lock, a slight snap, and the door groaned 
open. Grant entered and tiptoed down the hall. 

Within the back room, he again stopped to listen. From 
the other side of the door that separated him from the main 
meeting room of the hall, he could hear the thick, heavy 
voice of Heinric von Lertz, apparently giving the last of a 



long series of orders: 




"Imperial Germany expects 

every man of you to do his 

duty and to see Union Labor 

Grant grasped the German spy by 
the wrists and held her firmly while 
Mrs. Blank poured the acid on her 
shoulders. Slowly the message be- 
came visible. 



The Eagle's Eye 

"I received this morn- 



ing my commission as 
a captain in the Army 
intelligence," said 
Grant. "My work 
will be abroad." 
"Mine will be abroad 
also," answered Dixie, 
"In the Red Cross." 



driven from Old Forge," he was 
saying. "By doing that, the sup- 
ply of coal will be hampered, 
thereby depriving the Allies of 
necessary ships and America 
of the fuel necessary to run its 
factories, many of which are sup- 
plying goods to be shipped to 
the Allies. We have here enough 
dynamite to blow up every miner's 
house and every colliery in the 
district — and I want to see every 
bit of it used. As soon as we 
receive word that everything 
is all right, we will pro- 
ceed — " 

"Here I am, sir!" 
Grant opened the door 
ever so slightly to see 
the form of the spy he 
had trailed hurrying j 
up the aisle. "The 
constabulary is at 
the coal dumps, and 
they have their 
hands full. If we 
work quickly — " 

"All right. Line 
up, everybody. You 
will pass the platform, 
one at a time, and re- 
ceive your dynamite. 
Then each man will 
cause one explosion 
— and the result will 
be that the whole 
city will be 
wrecked. Hurry, 
there, line up, line 
up!" 

Grant hesitated 
only a second. 

Then as the line of destroyers formed and started for- 
ward — 

A hurtling form crashed through the door from the back 
room. Leaping toward Stanley Dembriki, in charge of the 
dynamite, he felled him with one crashing blow from his 
fist. Heinric von Lertz took one look, and ran through 
the door that had been left open by the entrance of Harri- 
son Grant! But the I. W. W. members did not know 
their leader was gone. They could only see Grant and 
rush toward him. 

But he was ready for them. A heavy chair stood nearby. 
He seized it, and taking his place near the dynamite, felled 
the first man who approached. Then, a sudden rush of 
men. 

High in the air went the chair, to descend again and to 
carry with it the form of a plotter. Again — and again — 
and again! Then Harrison Grant felt the chair wrested 
from his grasp and thrown far to one side. The sheer 
weight of men bore him down, pinioning his wrists, while 
fists beat upon his face and while — 

The sudden clattering of hoofs! Sudden eerie shouts 
from the crowd that surged on the platform. Grant saw 
the doors surge and splinter as the trained horses of the 
constabulary sent kick after kick against them. Panic 
Stricken now, the members of the I. W. W. sought escape 
through the windows of the great room. But that was im- 
possible also. Beneath every window waited a member of 
the constabulary. And at the doors — 

One after another they yielded to allow the entrance of 
the mounted men, who rode straight into the meeting hall 
that they might arrest the men who were to stand trial 




55 

later in the Federal Court at Chicago. A 
smile came to Grant's lips as he watched 
it all. Then the whole hall suddenly be- 
came blank — and he sank to the plat- 
form unconscious. 

When he became aware of the world 
again it was to feel the soft touch of a 
woman's hand and to hear the soft 
voice of sympathy. Dixie was bend- 
ing over him, assuaging his wounds 
and bruises. Harrison Grant looked 
up at her happily. 

"It's worth being hurt — 
just to have you nurse 
me," he said. And what 
could Dixie do but lean 
forward and kiss him? 
And so was broken 
up the first of the 
great I. W. W. plots 
in the United States. 
There were more to 
follow — and still 
more to come after 
that, for America is 
far from free, even 
now, of this ally of 
Imperial Germany. 
And it was while 
the I. W. W. was 
doing its best to 
harass the United 
States that Kaiser 
Wilhelm sat in his 
palace dictating the 
note to America that 
formed the begin- 
ning of war. And 
as he dictated, he 
turned to one of his 
ministers. 
"America will not 
even object to this," he said sarcastically, as he added 
another offensive sentence. "It is a thoroughly idiotic 
country — with an army of tin soldiers." 

And one cannot help wondering how many times since 
then the self-appointed vice-regent of God has wished he 
hadn't made that remark — or sent that note! 

CHAPTER XX 

"The Great Decision" 

But the note was sent. And while America debated 
upcn. the. advisability of handing Bernstorff his passports, 
that personage of espionage still continued to keep on his 
mask of righteous indignation that America should be 
offended with Germany and to predict that neutrality 
would exist as it always had existed. 

"These differences must and will be settled," he told the 
reporters who had gathered in the embassy to interview 
Albert and himself. "America is wrong in her contentions. 
Imperial Germany is the soul of honor!" 

In answer to which the reporters whispered: "Bull!" 

And while Ambassador Bernstorff engaged in his persi- 
flage to the newspapers, Harrison Grant and Dixie Mason 
were busily on the trail of Heinric von Lertz. They had 
trailed him to Leesville, there to see him give some instruc- 
tions to a German station agent, then to board a train. 
Following which they hurried to the arrest of the station 
agent where he had finally yielded: 

"We were to attempt to wreck the whole Pennsylvania 
railroad system by tapping wires," he said. "In that way, 
we could mix up the signals in such a way that the whole 
system would be demoralized and one wreck happen di- 



56 



Photoplay Magazine 



a v 



rectly after another." 

"Get to the wire and telegraph the Criminology Club 
to cause arrests at once," Harrison Grant ordered of his 
assistants who had joined him and Dixie. "Now," and 
he turned again to the station agent, "where did von 
Lertz go from here?" 

"To Charleston, South Carolina." 

"What for?" 

"I don't know — but I think it was something about the 
steamer Liebenfels." 

While they pursued the Imperial German spy, the 
agents of Germany were making their preparations for the 
wreckage to follow a previously agreed upon signal that 
the diplomatic relations between the United States and 
Imperial Germany had ceased. For Imperial Germany 
knew well that the American 
Secret Service could not go be- 
neath the decks of interned 
liners, and with this informa- 
tion, they were preparing for 
a scale of wreckage that would 
surpass anything yet accom- 
plished. As for Bernstorff: 

"Remember the signal," 
the Ambassador said as a 
servant entered to say that a 
representative had come from 
the department of state to 
hand him his passports. The 
servant bowed. Ten minutes 
later, when Bernstorff received 
his passports and the notifica- 
tion that relations between 
America and Germany were at 
an end. he "accidentally" 
dropped a handkerchief. The 
servant hurried away. And 
for eight hours the airlanes 
were filled with a wireless 
message which consisted of 
dots, dots, nothing but dots — 
the signal of destruction. 

In New York. In San * 
Francisco. In Galveston. In 

Boston. Everywhere throughout the ports of the United 
States was that wireless message of dots received on board 
interned German liners. And everywhere it had its effect. 
With sledges, with explosives, with compressed air and 
steam were the great engines of the interned vessels 
wrecked, so that America would be forced to spend months 
repairing them after their seizure. And on board the 
Liebenfels in Charleston harbor — 

"Quick! The Secret Service is on deck of the vessel 
demanding that everyone appear at once! " The messenger 
shouted the warning into the engine room, where Heinric 
von Lertz and the Captain were opening the seacocks. The 
captain ran, slamming the door behind him. Von Lertz 
swung open the cocks, and, as the water rushed in from 
without, ran toward the door. But it had stuck fast, the 
battens having fallen into place from without. He was 
trapped ! 

Hurriedly he tried to force his way through the rapidly 
rising water back to the sea-cocks, that he might close 
them again. But impossible. The rush of water had 
become so great that there was no stemming it now. 

Higher and higher — while the arch spy of Imperial Ger- 
many fought against his fate. Then, at last, a final, spas- 
modic struggle. The arch spy had paid his penalty. 
Heinric von Lertz was dead. 

Dead, while America thrilled with the thought of war. 
Dead, while Ambassador Bernstorff, making ready for his 
departure from America, searched for him in vain. Dead, 
while Heinric Albert, privy counselor and financial agent 



e Coal! 



AN appeal to save coal has been made by Fuel 
Administrator Garfield. The fuel adminis- 
tration says that it is absolutely necessary in or- 
der to save the country from disaster that 60,- 
000,000 tons of coal be saved during the year. 
Unless such a saving is effected the fuel admin- 
istration says that many plants will be closed 
down, many people thrown out of work, and a 
great reduction in industry will follow which will 
cause hardship and suffering and tend to restrain 
active war work. 

The government is asking every individual 
householder to save coal and advises a clean fur- 
nace and careful using of coal in the furnaces, in 
the ranges and cooking stoves, and wherever else 
it is used for any purpose whatever, in order that 
the greatest saving possible can be accomplished. 
The fuel administration also asks every house- 
hold to economize in the use of light, which will 
result in saving fuel in the manufacture of elec- 
tricity and gas and in the saving of oil where oil 
is used for lighting purposes. 



of Imperial Germany's spydom in America, made his last 
plans for destruction in America in a ram-shackle building, 
giving instructions to a score of bomb throwers. 

"Remember, that as soon as Ambassador Bernstorff and 
myself are safe on board the Frederick VIII, you are to 
start a bomb campaign in the harbor of New York that 
will eclipse anything ever attempted before," he said, and 
departed, smiling,— not knowing that from the shelter of 
a doorway Dixie Mason had watched his every move- 
ment. An hour later, in the cabin of the Frederick VIII, 
Bernstorff turned to smile upon his compatriot as he bowed 
to the shower of flowers that were being thrown from 
every direction by admiring pro-Germans. Just then Har- 
rison Grant approached. 

"Since everyone is giving presents, Your Excellency, I 

thought I'd make one myself." 
He handed a small package 
to Bernstorff. The Ambassa- 
dor opened it. 

"Checkers," he said wryly. 

"Yes," answered the presi- 

den of the Criminology Club, 

with a laugh, "it's your move, 

you know." 

And before the Ambassador 
could reply, Harrison Grant 
had gone on, to reach the deck 
of the ship and to make his 
way to the dock. There he 
saw the hurrying form of 
Dixie Mason — and rushed to 
her. 

"What's wrong?" 
"A great deal! There's a 
plot on! Where are your 
men?" 

"Scattered about the dock. 
I can gather them all up in 
five minutes." 

"Hurry! We haven't any 
time to lose!" 

A rush by Harrison Grant. 
A hasty summoning of the 
members of the Criminology 
Club. Then, as the Frederick VIII moved down the har- 
bor of New York, Harrison Grant, Sisson. Stewart, Cav- 
anaugh, Dixie Mason and other members of the Secret 
Service leaped into automobiles, to be rushed far into the 
outskirts of town and there to — 

In the mangy room of the bomb maker, the captain was 
giving his final instructions. 

"Has everyone his bombs?" 
«\?^ » 

"Remember what Dr. Albert told you. This campaign 
must produce greater results even than the Black Tom 
explosion. There are munitions ships on the Jersey side. 
See that they are destroyed. See that every munitions 
factory receives a bomb. Remember that America soon 
is to be at war with Imperial Germany — and America 
must be crippled. Now, go!" 

The men crowded forth. They hurried down the stair- 
way — into the apparently empty hall beneath. And then — 

From doorways. From beneath the stairs. From out- 
side. From everywhere leaped members of the Secret 
Service, to pounce upon the bomb carriers, to take them 
by surprise, to carry them off their feet by the sudden- 
ness and severity of their attack. One by ope thev -w*~ 
downed, Then three men were shot up the stairs by 
Harrison Grant to capture the old bomb maker himself 
and the remainder of his supplies. Here and there about 
the hall the fight surged. Harrison Grant suddenly 
swerved from his attack upon the bomb planter as another 
(Continued on page 114) 



As An Engineer He Was a Darned 
Good Actor 



Robert Gordon chose to stand in front of 
the electric lamps instead of behind them. 

JUST when you begin to feel that the current style in leading 
men needs a change, and you wonder whether the cruel 
war will ever let us have any more leading men, and you 
believe that it won't, and resign yourself to memories 
and present incumbents — why, right then a brand new lead- 
ing man is apt to appear! 

Such is Robert Gordon, whose magnificent performance in 
"Missing" immediately ranked him with any youngster in 
the profession. Mr. Gordon is — as this is written — support- 
ing Mary Pickford in her Hollywood filming of "Captain 
Kidd, Jr.," and it was in a Lasky dressing room that a 
Photoplay reporter found him. 

"I got the dramatic bee in my bonnet," averred Mr. Gor- 
don, "while I was a student at the Polytechnic high school in 
Los Angeles. I was studying electrical engineering and dur- 
ing my last year at school I became so interested in dramatic 
work that I produced nine one-act plays and acted in some of 
them myself. In my spare time I tried to keep up on my sub- 
jects in electrical engineering, but I wasn't successful and I 
flunked in several of them. 

"One day the principal called me into his office. 
'Robert, my boy,' he began, and then followed a 
long talk well sprinkled 
with advice. And 
the burden of his 
talk was that as 
an electrical en- 
gineer I was a 
fairly good 
actor. 

"Finally I 
found a director, 
J. Farrell Mac- 




To the Northeast : 
Robert Gordon; 

to the Southwest : 
Robert Gordon 

and Sylvia Breamer 
in "Missing." 





Donald, who gave me a chance. I 
played small parts with the old Bio- 
graph company, and finally I went 
to New York with that organization. 
"Then things went wrong again, 
and once more I was out of a job. I 
carne back to California. I dropped 
in to see Louis Goodstadt, casting di- 
rector at the Lasky Studio. He stared 
at me and finally said, 'Yes, I 
think you're just the one.' He 
then gave me the part of the 
Tennessee Shad in Owen John- 
son's story, 'The Varmint.' So 
I went over to the Morosco 
Studio and supported. Jack 
Pickford in that picture. 
It was my first good part. 
After that came 'Tom 
Sawyer.' I played 
Huckleberry Finn in 
that. And in 'Huck 
and Tom,' I also 
played Huck. 
Then I went 
with William H, 
Hart's com- 
pany, and sup- 
ported him in 
'Blue Blazes 
Rawden.' " 




The Four Doors 



By Susie Sexton 



THERE is an old Egyptian legend 
of a musician who could trans- 
port his audience from joy to 
sadness, from love to hate, by 
the simple device of blowing on differ- 
ent reeds of his pipe. 

One reed was supposed to hold all 
the pent-up sobs and tears of the world. 
Another was fairly bursting with joy 
which could be released only by the 
breath of the player. Each of the 
others held a particular virtue, making 
it possible for the musician to run the 
entire scale of human emotions accord- 
ing to his own whim. 

And, since man has loved to sob, 
laugh, fear and hate since the days 
when the world was in its swaddling 
clothes, he always has been free to re- 
ward those who could play upon his 
emotions. In this particular case the 
pipe-blower was given a wealth of 
honey, oxen and wives, to say nothing 
of a seat close to that of the king. 

^ s(; $z $: $: %z 

In a certain studio on the palisades 
that skirt the other side of the Hudson 
a motion picture director studied a sce- 
nario in which was related the tale of 
a girl who attempted to live according 
to the rules of her 
mother. The ad- 
ventures of the hero- 




ine were black indeed. Obviously 
the story was true to life in every 
detail. But that intangible some- 
thing that an audience seeks in 
every great story was lacking. 

"A story without the joy of liv- 
ing in it — but still a true one." was 
the diagnosis of the director. 

Whereupon he drew upon that 
mystery box of filmland, the prop- 
erty room, and injected a laugh here, a 
homely touch of childhood there, a 
thrill of menacing disaster, and the 
marvel of a finished picture had been 
produced. 

For the Griffiths, Brenons. Inces and 
Sennetts of today have discovered the 
secret of that magic instrument of pre- 
historic times. With unerring touch 
they draw repeatedly upon the same 
formulas for tears, laughter, thought or 
fear. When a picture calls for medita- 
tion on the part of their audiences they 
play upon the reed that stirs even the 
most sluggish brain to action. If a 
thrill is required, they know just 
what is needed to send a shiver 
coursing up and down the most blase 
spine. 

When D. W. Griffith filmed 'The 
Birth of a Nation" he made one 
scene in which a helpless little family 
in an isolated cabin was pictured at 
the mercy of a lawless mob. No imagi- 
native film fan has ever forgotten how 
the audience shuddered at the sight. 
then instinctively drew its breath at the 
sound of the bugle call, clear as a bell, 
which accompanied frequent cut-backs 
revealing white-clad clansmen rushing 
to the rescue. 

This incident is a perfect example of 
the type of shudder the public likes 
best and gets most frequently — that 



centered in several hundred feet of 
celluloid showing the hero or heroine at 
the villain's mercy, with cut-backs of 
the sheriff and his posse or soldiers 
from the fort riding wildly to their 
assistance through clouds of dust. 

Roy Stewart had a typical scene of 
this character in his "Wolves of the 
Border'' when he brought armed cow- 
boys to the aid of an enemy rancher 
and his daughter who had been be- 
trayed into the hands of bandits by a 
tricky foreman. To get the last ounce 
of thrill out of the situation, the arrival 
of the rescuers was timed, as usual, to 
precede by half a second the firing of 
the victims' last round of ammunition. 
This is the brand of shudder which the 
admirers of Douglas Fairbanks and 
William S. Hart demand and get in 
practicallv everv release of 




sfZ 




which is caused by 
the threat of impending dis- 
aster to an innocent person. 
Rarely, of course, does the tragedy 
materialize. But the effect of keeping 
the balance of suspense between the 
picture of helpless ones facing immi- 
nent death and that of the rescuers, 
who are never late, but always threaten 
to be, is unfailing. 

The shudder ingredients so essential 
to pictures of the plains are usually 



those stars. 

The saw-mill episode in Viola Dana's 
•Blue Jeans" is another sure-fire 
shudder-getter. One of the most sacred 
traditions of the ancient barnstorming 
days was that every self-respecting 
melodrama should have its final scene 
laid in the old saw-mill. No less than 
one hundred of these productions had 
the hero tied hand and foot before the 
approaching buzz-saw, then rescued 
at the fifty-ninth second. The situ- 
ation lost none of its blood-curdling 
^t^ibUtCS vvuen it was transferred to 
the shadow stage. The director of 
"Blue Jeans," intent upon high emo- 
tional lights, lengthened to the last 
pitch of grewsomeness that portion of 
the film showing the helpless hero 
slowly approaching the saw. In numer- 
ous cut-backs the little heroine strug- 
gled to free herself from prison before 
finally dragging her husband to safety. 
When the old Biograph was prosper- 
ing, directors, who were also students 
of psychology, were very fond of one 
scene which they could always depend 
on to give the box-office patrons a gen- 
erous nickel's worth of thrills. It had 
something to do with a burglar who 



5S 



Certain \eys that never fail to open the way to the spectators 
emotions, as all good directors know — and as youll doubtless 
admit, insofar as your own responsiveness is concerned 

Decorations by R. F. James 



forced his entrance through the con- 
ventional second story window and 
took'the young wife by surprise. When 
the husband was heard approaching 
the hold-up man kept the wife covered 
with a revolver concealed in his right 
hand pocket and forced her to tell the 
husband the intruder was a cousin — or 
some other white lie. The audience 
knew that the gun was there, but the 
husband didn't, hence an added thrill. 
Misleading evidence of guilt, repro- 
duced effectively on the screen, will 
make any film enthusiast's teeth chat- 
ter, appreciatively, of course. A close- 
up of the dainty fan of the Marquise 
in Pauline Frederick's "Tosca" opened 




the way to the blackest portion of the 
plot. The audience knew the Marquise 
had never been near the church, but 
it took a lot of pleasure trembling in 
uncanny anticipation of the deadly 
emotions the fan would unleash in 
Tosca when Scarpio brought it to her. 
The deadly dagger climax in "Tosca" 
has had its prototype in many a photo- 
play starring Theda Bara, Louise 
Glaum, and kindred stars who special- 
ize in shudder-photodrama and always 
carry concealed weapons when appear- 
ing before the camera. Almost as popu- 
lar with the discerning director who 
must produce a shiver is the revolver 
which so many screen families keep in 
the left hand drawer of the library 
table ready for use when any of the 
characters decide to "end it all." 

Another emotional tune which 
strikes the shudder chords is that de- 
lightfully creepy sensation which 
formed the screen fabric of John Barry - 
more's "Raffles." When the thief has 
the irresistible personality of "Raffles" 
the audience enjoys sharing his hair- 
breadth escapes. 

Bringing a lighted match into con- 



tact with "TNT" is no more certain 
in effect than some of the time- 
honored aids used to tickle the pub- 
lic's funny bone. Custard pie is 
foremost among these, of course. 
Xo psychologist has ever disclosed 
just why custard pie is funny. 
There are many besides Mr. Hoover, 
in fact, who would like to see it ban- 
ished from the screen permanently. 

But like various misfortunes to 
others, which are the most potent of 
laugh-makers, it retains its perennial 
popularity. 

Any tired business man will chuckle 
himself into a state bordering on hys- 
teria at the sight of a plate of hot soup 
overturned on an unsuspecting victim's 
head or a close-up of somebody 
else's silk hat overflowing with water 
or broken eggs. "Fatty" Arbuckle 
used both of these in "The Bell- 
Boy" as he has in many of his other 
two-reelers. They have been favor- 
ites with Chaplin and in the Sennett 
comedies. 

Sliding or falling unexpectedly on 
a slippery floor or pavement is an- 
other accident which audiences like 
to see. Chaplin made his toboggan- 
ing on a hardwood floor a large per- 
centage of the action in "One A. M." 
He did it, too. in 'Shanghaied" and 
"The Immigrant." "Fatty" Ar- 
buckle knows how funny he looks when 
he slides and had the floors well cov- 
ered with soapy water when he made 
portions of "The Rough House" and 
"The Bell-Boy." 

The overflowing bath-tub scene is 
done every so often by directors of 
comedy from Fort Lee to Hollywood. 
In the laugh index it ranks with the 
spectacle of helpless victims being 
knocked into insensibility by a blow on 
the head and that of the waiter who 
is tripped up as he carries in a tray 
of dishes. Some studios have their 
china closet replenished twice a 
week, because the folks who keep 
motion picture theatres darkened 
are so fond of seeing dishes smashed. 
When the Keystone "cop" made 
his camera debut he became the 
founder of a screen family which 
can always be relied on for comedy. 
It is always entertaining to see en- 
forcers of the law made ridiculous. 
No inveterate fans need reminders 
of how often they have seen the 
comedy police force plunge over an 
open bridge or drive a Ford car 
through a three-storv brick building. 




A recent Sunshine comedy related 
the adventures of Helen Holliday, who 
sought the straight and narrow trail 
after having done time for seven years. 
Not the least of Helen's grotesque expe- 
riences occurred when she was caught 
in a driving rain which turned her um- 
brella inside out, ruined her costume, 
and made it generally difficult for her 
to retain her equilibrium. You recog- 
nize this scene, of course. You have 
seen it done since the nickelodeon 
days. 

And right here let us mention that 
a far-sighted director always keeps a 
rousing rainstorm or two in reserve. 
A storm, whether it be a gentle Spring 
shower or a raging downpour, inspires 
many different kinds of emotion other 
than laughter. Psychologically a rain- 
storm clears the emotional atmosphere. 
It is used in cameraland as it is em- 
ployed on the speaking stage — to 
freshen an audience's point of view so 
that the happy climax may be con- 
templated with keener enjoyment. 

If you saw "The Fortune Hunter" 

during its long run on the legitimate 

stage, you recall that the stage director 

opened the 

last act with a 

brisk shower 



ij> 




which served 

as a prelude to 

the lovers' 

vows and the 

live -happy- ever - 

after conclusion. 

As T e s s in 
"The Secret of 
the Storm Coun- 
try" Norma Tal- 
madge spent a 
number of days 
up in Ithaca. 
New York, and 
in her F o r t v - 



;i 



6o 



Photoplay Magazine 




eighth street studio. She rescued her 
enemy's child from the burning witch's 
hut, then battled heroically with a 
thunder storm to restore the little girl 
to her parents. With that thunder storm 
Miss Talmadge's director marked the 
turning point in the trials of Tess, She 
had reached the limit of suffering and 
the storm prepared the way in the spec- 
tator's mind for less violent emotions 
and the more peaceful later life of Tess. 
In this connection it may be men- 
tioned that many a property man has 
earned a couple of days' salary stand- 
ing on top of a step-ladder, just off the 
set, holding the common garden variety 
of watering can with a rubber hose 
attached while faking a gentle shower 
to the director's entire satisfaction. 
This type of rainstorm is useful in 
light comedies. Such a one overtook 
Constance Talmadge in "The Studio 
Girl" when she ruined her wedding 
gown in her stolen ride to the railway 
station with Earle Fox. The rain- 
drops made her look so forlorn that 
they heightened the audience's sympa- 
thy with her revolt at the maiden aunts' 
restrictions and made them condone 
rather than condemn her flight from 
the waiting bridegroom. 

Sob-stuff, too, has been thoroughly 
pigeon-holed and card-indexed in every 
director's well-ordered brain. No 
audience weeps as naturally and unaf- 
fectedly as a motion picture crowd, be- 
cause it can cry without fear of detec- 
tion. Consequently a director need use 
only the simplest of methods to open 
the sympathetic tear ducts. 

A good close-up of a little child reg- 
istering hunger or sorrow is one of the 
trustiest sob-inducers. Any pictured 
sorrow of childhood brings a ready tear. 
Witness Marie Doro, who caused much 
quiet, if amused, sadness offering her 
plate for more in "Oliver Twist." Addi- 
tional evidence was the sight of the 
little sick children in Mae Mur- 
ray's "The Primrose Ring" and 
the plight of those delightful 
youngsters who could not find 
their father in Mary Pickford's 
"Hulda from Holland," also the 
death of Olga Petrova's little son 



in "The Light Within." 

Another sad, sad scene which the 
director uses frequently to make his 
audience cry is that of the poor girl 




alone in a big city and unable to find 
work. Usually her background is a 
shabby furnished room 
with one gas jet. A 
stern and uncompromis- 



ing landlady necessarily hovers in 
the distance. 

And now we arrive at another 
psychological puzzle of the screen. 
In the darkest moment of her life 
every heroine of this type makes a 
beef stew over her solitary gas jet 
thus wilfully adding to her own 
sorrows — and those of the occu- 
pants of orchestra seats — by en- 
raging the landlady. It is custom- 
ary for her to empty a threadbare 
purse to buy the ingredients. Then 
in her distracted state as if to 
heighten the effect of a generally 
thin time she permits the stew to 
burn so that the landlady has no 
alternative but to turn her out on 
the street. 

Personally it takes the edge off our 
sorrow sohiewhat to find that the lovely 
girl adds onions to her stew, but she 
nearly always does. Most directors seem 
to think the landlady would not find 
her out if she did not. You remember 
with what keen relish Madge Kennedy 
sniffed at the fragrant white vegetable 
in "The Fair Pretender," and how Mil- 
dred Manning in O. Henry's "The 
Third Ingredient" encountered all sorts 
of adventures because she simply in- 
sisted upon having that one onion for 
her evening meal. Clara Kimball 
Young did most of her suffering in 
"The Easiest Way" in a hall-bedroom. 
In cold reality there are, of course, 
few things sadder than a hall-bedroom. 
But when the lights are out, the heroine 
is beautiful and the orchestra plays 
"Annie Laurie" — well, there simply is 
none sadder, that's all. 

Death-bed scenes are always 
pathetic, if it is the good who die 
young. Norma Talmadge had a tragic 
death as the little seamstress in "The 
Ghost of Yesterday," the picturization 
of Rupert Hughes' "Two Women." 
Benjamin Chapin gave the death of 
Lincoln's young mother in 
"The Son of Democracy" 
such reality that many who 
saw it could not remain for 
the rest of the performance, 
because it wakened memories 
in their own lives. 

Further along in the sob 
category come the sacrifices 
of those who assume an- 
other's guilt to save a friend 
and the separation of sweet- 
hearts. In "Tess 




of the Storm 
Country" Mary 
Pick ford assumed 
a lot of blame 
(Continued on 
page 116) 



Scare 'em 
or Make 'em 
Laugh ! 



or, from Under' 
ta\er's Advance 
Agent to Comedian 





Laughter Hall," Undertaker Parsons' Hollywood home. 

my prospectives, the better my annual showing, the 
better my annual income. 

I was a wholesale dealer in frights, chills, 
scares and shocks. 

That I was good at scaring is at- 
tested by the fact that the Mis- 
souri insurance records show 
that I secured over one million 
dollars worth of new clients 
each year, for ten years. 

Thus I began figuring how 

much greater a man Charlie 

Chaplin was than I. 

^ Chaplin made them laugh and 

forget their cares while I was busy 

on quite the reverse.. 

For each laugh Chaplin caused, I 



caused a fear. 

Then I read 

the Apes" and 



A few slender 
half-tones, 
s ugges t ing 
"Smiling 
Bill's" slim- 



/. 



a novel. It was "Tarzan of 
I decided right there that I 
was going into 
the motion pic- 
ture business. 

The story 
appealed t o 
me. That it 
was a success, 
was more the 
fault of the di- 



J 



<; 



By 

Smiling Bill" Parsons m 



FOR ten years, my daily con- 
versations consisted of tell- 
ing men they should prepare 
against the day the grini 
reaper tolled off their names, or 
advising wives and mothers to see 
to it they were taken care of when 
their loved ones passed away. 

No day in my existence but what 
I was warning men against death 
by accident, or heart failure. 
I was an insurance agent. 
It was my business to scare peo- 
ple almost to death in order to get 
them to fortify their families 
against the day when they would 
be left alone in the world. 

The greater my ability to scare 




61 



62 



rector and the able artists who portrayed the difficult parts. 

But while I was at the studio one day, our director sug- 
gested that I would make a good comedian. 

"Come on Bill" he teased, "let's make a comedy between 
scenes." 

And I consented. 

I do not want to appear egotistical, but that comedy 
when it was finished, made me laugh — and then and there 
Smiling Bill Parsons was born to immortality. 

Right there I decided that being a screen comedian had 
its advantages over telling people about train wrecks, skid- 
ding autos, ptomaine poisoning and other forms of shuffling 
off — and then the Goldwyn people insisted that I make one 
every two weeks. 



Photoplay Magazine 

I guess I am doing all right for I nave gotten letters 
from some of the people I talked into an insurance policy 
telling me that I helped them prolong their lives by mak- 
ing them happier — so I am performing some good function 
to offset my years of morbidity. 

And strange to say, I'm not so crazy about myself as a 
comedian but I have a wonderful time, meet lots of won- 
derful people and now once in a while someone points at 
me and smiles — and that's worth all the effort of putting 
on grease paint and working under a bunch of hot electric 
lights. 

AND I AM GOING TO HAVE A NEW LEADING 
WOMAN IN EVERY PICTURE SO THEY CAN'T SAY 
I'M IN LOVE WITH MY CO-STAR. 



A Dog That Pays an Income Tax 

By Grace Kingsley 



HE earns $50 a week and he pays $25 a year 
income tax. 

That sounds like a regular actor, doesn't it? 

Reams and reams are written about him every week, 
and he never reads the stuff. That doesn't sound like a 
regular actor at all, does it? 

In fact he's a regular actor- — and he isn't. He's Teddy, 
the Great Dane, Mack Sennett's dog actor. And besides 
the fifty financial bones a week, he gets six soup bones. 

So whoever talked about leading a dog's life didn't mean 
Teddy's life a-tall. 

Teddy is the only dog in the world that pays an 
income tax. 

Of course nobody pretends, smart as Teddy is, that he 
went up to the Federal Building and swore to a statement 
about his income, — as to whether he owned income prop- 
erty or had a wife and children dependent on him. In 
fact he has no curiosity at all about his children. He did 
follow his master, Joe Simpkins, up to the income tax 
office — as a sort of "Exhibit A," — and he did emit a loud 
confirmatory bark when Joe declared Teddy was an actor. 
Which again makes him a regular actor. 

As a matter of fact, Teddy doesn't care a whoop 
in Jerusalem about his income, — except the bones 

Anyhow, he says, what could a dog do 
with fifty dollars a week? 

Of course there's the beauty chase. 
Even a dog has to be all dolled up 
like a society woman at least 
once a week. He must be 
carefully examined for 
signs of mange, and he 
has to have applied 
to him the most 
exp e n sive 



(and smelly) flea eradicator ever put on the market. 
And on his day off, does Teddy spend money on prize 
fights or the opera or chickens? Of course not. If he 
has time and opportunity he sometimes stages a dog fight 
with some other studio canine, but there's no purse, for 
Teddy is a real sport and disdains the professional stuff. 
He has no taste for music, — except when his master Joe 
Simpkins plays the accordeon, when he loves to accompany 
him in an amateurish 
way. Simpkins has a 
nice little pension fixed 

thing happens to him, jfl ^k son's pleading, 

Joe. Or to Teddy /^k fm anc * the* widest 

himself. You seel ■ g"* Teddy could 

,„ , , , , ^B ^m achieve could not 

some times. a studio visitor! 

to leave off crying. 




/ 



Old Hartwell's 



The old man was the town drun\ 
ard, but the son lived it down 




ILL HARTWELL stood in 

the door of his smithy, a 

scowl in his face, black hate 

in his heart. They were 
coming; far down the road he 
could see a crowd of men and boys 
led by lantern-jawed, self-righteous Deacon Grimes, the 
one most persistent in his persecution of Bill's old drunken 
father. 

They had reached the line of poplars at the turn now, 
and Bill could see that they carried a motley assortment 
of the implements of vengeance — whips, clubs, shovels, 
anything that would serve to overpower his mighty 
strength. In the rear two men bore a bucket of smoking 
tar swinging from a pole. Another rail was carried on 
high; and several small boys clutched leaking feather pil- 
lows, as they hurried excitedly along. 

So they had made up their minds to rid the town of him 
and his father, had they? He hadn't given 'em enough last 
night when he smashed in the jail door with an ax, put 
maudlin old Tom over his shoulder and carried him home. 
. . . Deacon Grimes had had the old man arrested 
when he was sleeping off his liquor in the sun. 

Bill's father was the town drunkard, as his father had 
been before him. Thus the taint seemed hereditary, though 
Bill, himself, hated liquor with all the strength of his soul. 
It had made him an outcast, an embittered Ishmaelite with 
every man's hand against him — except, of course, as they 



(Editor's Note: — This story won third prize in the 
scenario contest conducted jointly by PHOTO- 
PLAY MAGAZINE and the Triangle Film Cor- 
poration a number of months ago. It was entered 
and judged under its original title, "The Tree of 
Life." It was renamed by the producers.) 



came to have their horses shod 

through his skill. But from the 

time Bill could remember every 

other avenue of recognition had 

been closed to him because he was 

old Tom Hartwell's son. 

But in spite of this, he loved his father. The gentle, 

sunny-tempered old man harmed no one but himself — Bill 

saw to that. How could they hound him as they did? 

Bill flexed the muscles of his arms and waited grimly. 
Let them come; he'd show them. 

The crowd halted some distance from the blacksmith 
shop, and engaged in consultation. It would be best to 
persuade Bill to go peacefully, if they could. They could 
eventually overpower him, of course; but it was certain 
that somebody would get bad ] y mussed up in the assault. 
The deacon stepped forward as spokesman. 

"We've made up our minds that this town ain't big 
enough to hold you and your father any longer. The rest 
of us are decent, law-abidin' people, and we don't want ye. 
If ye give us your word to go peaceable, well and good. If 
ye don't — " He made a threatening gesture toward the 
bucket of tar. 

Bill picked up a sledge and advanced a step or two. 
"You get out of here and mind your own business, you old 
hypocrite, or I'll give you something worse than tar and 
feathers." 

The deacon danced with rage. "Ye ungodly son of 

63 



6 4 



Photoplay Magazine 



I'll teach ye to misname your betters!" he 



perdition! 
yelled. 

Bill started forward, and the deacon as suddenly re- 
treated. Bill laughed contemptuously and stepped back. 
Then he saw that the mob was advancing with concerted 
action. They evidently meant business. 

Bill considered. Single-handed he was no match for 
them; and he thought of his father lying helpless and 
asleep upstairs. He stepped quickly inside the shop. 

A shower of sticks and stones came through the door- 
way. The space was narrow, not admitting more than two 
men at a time. Bill, with uplifted sledge, took his stand 
beside it. 

There was an interruption as a tall, scholarly-looking, 
shabbily-dressed man made his way toward the crowd. 
"Hi, here comes the minister!" sounded the cry of several 
small boys, from their vantage points of observation. 

"Stop!" cried the Reverend Lane, indignantly. "'What 
does this mean? Have we gone back to the age of witch- 
craft and the stake, that you stone a fellow being?" 

There was an interlude, while the deacon and his co- 
horts attempted to explain. The minister shook his head. 
"And is this your Christianity?" he cried. "Let the man 
alone; I will talk to him." 

"He'll brain you with his sledge," cried the deacon as 
the minister started for the shop. 

Bill stepped forward and met the newcomer half way. 
Then the mob circled around and almost gained the door 
behind him. Bill jumped back. The minister, see- 
ing the mob's treachery, spoke bitter, scathing 
words. "Go home; go home, and hang your heads 
in shame! Have you forgotten the words of the 
blessed Christ? — 'Let him who is without sin cast 
the first stone.' " 

Some of the men looked sheepish and dropped 
their clubs. Others whispered together, and pres- 
ently only Deacon Grimes remained to consider 
the bucket of tar smoking, neglected, in 
the street. Bill was angrily explain 
ing to the minister why he had 
broken in the door of the jail. 
"M y father is harmless; 
they'll let him alone or 
I'll know the reason 
why." 

With a kindly 
hand on Bill's 
shoulder Lane 




quieted him. 'It is mostly their fault," he admitted, "but 
something must be done. Suppose you come over to the 
parsonage for supper tonight, and we'll talk things over." 

Bill muttered a dazed acceptance of the invitation. Eat 
at the minister's house? It was unbelievable! And after 
the minister was gone, soundly berating the still irate 
deacon for his lack of Christian charity, Bill's manner still 
indicated mystification. "Me, invited to eat with the 
preacher. ' Well, I'll be damned!" 

That night marked the beginning of a new life for Bill 
Hartwell. For the first time in his history he was received 
as an equal in a refined, though humble, home. He sat at 
a decent, well-ordered table, a man with other men. After- 
ward the events of that evening merged into a pleasant 
haze in his memory, all but one: The picture of Mary 
Lane as she stood in the kitchen doorway, a smile of wel- 
come on her lips, her face, above her green-checked apron, 
rosy with the exertion of preparing the meal, remained 
etched forever on his heart, as a diamond cuts a pane. 

The minister and his daughter tactfully ignored Bill's 
natural embarrassment, and little by little self-conscious- 
ness left him and a new dignity came into his bearing. 
Minister Lane spoke of Bill's father, whom he advised Bill 
to treat exactly as if he were ill, for the craving for liquor 
was a disease, and sometimes curable. Bill went home 
with a new hope in his heart. 

As he left the house he passed a dapper young man who 
stopped and stared at him. This was Ed Jones, who had 
been making his headquarters at Matherville for some 
time, and who had set all the girls in the place a-flutter 
with his sophisticated dress and manner. Ed hailed from 
the city, that place of enchantment to 
bucolic minds. Reputing to be a salesman 
for a religious publishing house, Ed had 
made a good impression upon unworldly 
and simple-hearted Reverend Lane; and 
was received in his home without ques- 
tion. Mary Lane was the most attrac- 
tive girl in town, therefore Ed was glad 
to avail himself of the hospitality. He 
wondered now what this uncouth black- 
smith had been doing there. 
The next afternoon, as Ed and Mary saun- 
tered down the shady path from the ceme- 
tery, Mary told him exultantly that 
the Ladies' Aid Society had at last 
succeeded in raising money 
enough to pay for paint- 
ing the church. The 
hundred dollars was 
safe in her 
keeping a s 
treasurer. 
With ap- 
parent 



Mag was the busi- 
ness partner of the 
sketch. The in- 
domitable proprie- 
tress of the 
Delmonico saloon 
was all that such 
an executive should 
be, as the saloon 
loungers were well 
' aware of. 



Old Hartwell's Cub 



6 5 




hate this place. But father — " She 
hesitated. "Father says his clothes are 
too shabby — " 

"By George! Why didn't I think of 
it before?" Apparently Ed had had 
an inspiration. "I can invest that hun- 
dred dollars for you, Mary; and double 
the money in a week. Can't you bor- 
row it?" 

Mary shrank from him in alarm. 
"Oh, no! It isn't mine." 

"But you won't need to use it on the 

church for a week or so. Nobody will 

be the wiser. It's a d»ad sure thing or I 

wouldn't mention it. You'll have the 

Ladies' Aid money back and enough 

extra to buy your father some good 

clothes. Then you could get away 

from Matherville." 

Mary thought of the unweary- 
ing patience and faith of her 
fatheV, of his many acts of 
unselfishness, of the ingrat- 
itude and narrowness of 
those who profited. And 
they wouldn't even 
see that he had 
whole and de- 
cent shoes! 
"Do 

m M? * x r" you 



Mag, holding Ed's head in her 
arms, looked up as they were leading 
Bill away. "Stop them," she cried to 
the trembling girl at her side. "He 
ain't no thief!" 

indifference Ed congratulated her, but his sharp wits were think it would be right?" she wavered. 

busy. Mary was desirable in herself; plus a hundred dol- "Why not?" he retorted. "You're only borrowing it, 

lars she was a windfall. • and you can't lose. Think what it will mean to you." 

They gave scant attention to the Smith girls, two village She took a vase from the top of the parlor organ, and 

belles passing; nor did they notice the girls' jealous-eyed upturning it, poured out a roll of bills and silver, which 

chagrin at Ed's evident desire to get rid of them. Jealousy she counted and handed over to Ed. 

is a seed of suspicion. Said one injured Smith maiden to "I don't know," she faltered. "If anything should hap- 

the other: "I don't think much of Mary Lane since she's pen — " 

been chasing around with that city fellow. I think we'd "Nothing's going to happen," Ed assured her, putting 

better be careful. Maybe we — " the money carefully where it would be safe — to him. 

Their two heads went together. Presently other girls A little later, as she stood on the porch bidding him 
joined them and gossip fairly buzzed. good-bye, the Smith girls and their cronies passed. Whole- 
Minister Lane came down the steps as Mary and Ed heartedly, Mary waved her hand at them. But with ele- 
entered the parsonage gate. In the strong sunlight, the vated noses, they ignored her greeting. Mary recognized 
shabbiness of his worn clothes was glaringly apparent, the "cut direct." Surprised at the rebuff, Mary slowly en- 
Involuntarily Mary glanced at his feet .., , tered the house. What had she done? 
and Ed's glance followed. The minis- ° ld Hartwell s Cub In the mea ntime Bill Hartwell had 
ter's shoes had been patched until there MARRATED by permission from the taken Minister Lane's advice and was 

. f , i . , ,i 1 ^1 photoplay of the same name, , . , , , . 

was no longer room for a patch to hold. base( f the story by Mabd Richards, making a desperate attempt to cure his 

A resentful look chased the sunshine and produced by Triangle with the fol- father of the habit that was ruining him. 

from Mary's face, and Ed was quick to lowing cast: He had taken away all of old Tom's 

interpret it. "I don't suppose your Bill HartweU William Desmond poc k et mon ey and confiscated his 

, ., r i Mary Lane Mary Warren u • , <(T , • i 

father receives a very generous salary Edward Jones. . ..Eugene Burr whiskey. "I m going to keep you in 

here." he murmured sympathetically. R ev . David Lane Walt ^Whitman bed a while and give you just enough of 

"It isn't enough to call a salary," Tom Hartwell Percy Challenger this at a time to taper you off grad- 

flashed Mary. "And not only that, but ^ B « Jones..., Dorothy Hagar ual] Dad „ he said measuri ng out a 

., , , ,. , . ,, . T Deacon Grimes Graham Pette , . , ,,,, , , .... , °., , 

they re behind m their payments. I Steven Marvin Edwin J. Brady drink. "You're kilhn' yourself and 

wish we could go somewhere else — I Benton William J. Ellingford you've got to quit." 



66 



Photoplay Magazine 



In vain the old man, writhing in the appetite of the con- 
firmed alcoholic, begged and pleaded. Bill was firm. 

Mary was not long kept in ignorance of what the girls' 
attitude indicated. In the morning's mail she received a 
note: a curt statement to the effect that because of her 
''scandalous behavior" the Ladies' Aid had decided to elect 
Jennie Baxter treasurer. And would Mary hand over im- 
mediately the funds she had in her charge? 

Poor Mary! When she was ab4e to think co- 
herently, she started on a run for the hotel. Un- 
less she could get the money back from Ed she 
would be accused of embezzling the church's 
funds! 

In front of the hotel sat the usual aggrega- 
tion of small-town loafers. To Mary, in her 
agitation, the thought of attracting attention 
was unbearable; it seemed as if evervone 
must know what she had done 

So she hurried to the 
rear of the hotel and 
climbed the stairway to 
the second floor, too full 
of her trouble to realize 
the hazards her reputa- 
tion faced in defying the 
village proprieties. 

She knocked on the door 
of Ed's room, and to the 
summons, "Come in," 
turned the knob. Ed, who 
was dressed to go out, started 
in surprise, at the sight of her. 
"Oh, Ed, I must have that 
money back!" cried Mary, 
thrusting forward the girls 7 
letter, with a 
trembling hand. 

Ed w a s calm. 
This was just 
what he had 
wished for, and 
Mary's coming 
alone to his hotel 
was another card 
in his hand. 

"I'm sorry, 
dear; but I've ai- 
re a d y invested 
it," he said. "I 
can't get it back 
now." 

It was true he 
had "invested" 
most of it — but in 
his hotel bar bill. 

Mary collapsed. "What shall I do?" she moaned. "I'm 
ruined. I'll be punished as a common thief!" 

Ed ruminated. He wanted this girl — but there was a 
good reason why he couldn't have her; he had left his wife, 
Mag Jones, back in Arizona. But Mag didn't know where 
he was, and if he could keep Mary in ignorance of her — 

Suddenly he opened his arms. "I love you, Mary," he 
whispered. "Marry me and I'll get the money in the city, 
and pay it back to you." 

Mary Lane was in desperate straits. It would kill her 
father to have her arrested as an embezzler. But she knew, 
suddenly, that she did not love Ed. As she hesitated, steps 
were heard advancing. Too late to close the door, Ed saw 
the proprietor hesitate at the threshold, staring at Mary, 
and his gloating face, as he hurried on, revealing too plainly 
how he relished this choice bit of scandal. 

Wretched, Mary gave in to the unavoidable. "That 
settles it," she said hopelessly. I'll have to marry you. 



In vain the old man, 
writhing in the appetite 
of the confirmed alco- 
holic, begged and 
pleaded. Bill was firm. 
"You're killing your- 
self Dad," he said 
softly. "And you've 
got to quit!" 




He'll tell every 
soul in town that 
he saw me here." 
Ed passed h i s 
arm around her 
with a word of en- 
couragement, and to- 
gether they left the 
hotel. 

Driven half mad by 

his craving for liquor, old 

Tom had searched for and 

finally found, his son Bill's 

money sack. Hastily untying it he 

grasped a handful of silver. Then 

he heard Bill coming. With fumbling 

fingers the old man was trying to replace 

the string at the mouth of the sack. 

when Bill entered the door. 

Old Tom cringed like a child caught 
in theft, but with the utmost gentleness 
Bill took the sack from him. Thinking his 
father had not yet got it open, he replaced 
the string, and put the sack in his pocket. 
Then, giving the old man his drink. Bill sat 
down beside him until he thought him 
asleep, after which he changed his clothes 
and went out in search of Reverend Lane 
whom he wished to have come and see his 
father. The money he took with him. 

Bill had barely turned the key in the 
door, when the old man was at the window 
of his bedroom, watching. Presently a vil- 
lage loafer sauntered by. Tom picked up a 
chair and smashed one of the window panes; gesticulating 
with his arm, he caught the attention of the passer-by. 
There was a brief conversation, and the clink of silver-; old 
Tom lay back exhausted but happy. He would have his 
fill of the poison he craved, once more. 

As Bill passed the hotel he noticed, on the porch, a little 
crowd of men. Bill caught a name and hurried forward. 
"Yessir," came the voice of the proprietor, "not two hours 
ago I saw Mary Lane in Ed's room, and then they went 
away together and he's come back alone. There's 
somepin— " 

The speaker was interrupted as the blacksmith's mighty 
fist shot through the air and collided with the speaker's 
head. 

Ed Jones, hastily packing his suitcase, glanced out of 
the window to ascertain the cause of the disturbance be- 
low. Bill saw him, and took the front stairs at three 
jumps. But as quick as he was, Ed was quicker. He 
(Continued on page 115) 



Men for France! The hour has struck for 
Films for Russia! the Motion Picture's great- 
est service to Liberty and 
Humanity. That service is the immediate sup- 
plying of American films to Russia, and those 
who know declare that film in Russia is equal 
to men in France — film stories, film comedies, 
educational film, propaganda film, film of agri- 
cultural instruction — these vital sheets of cellu- 
loid may alone possess the power to wake the 
vast shambling Bear of the North, to turn a 
demoralized people toward industry, and kindle 
the conscience of a recreant soldiery which 
Prussia has made shamefully subservient. 

Madame Botchkarova, Commander of the 
celebrated "Battalion of Death," brings the re- 
sounding picture battle-cry. She told a repre- 
sentative of the Dramatic Mirror, in New York: 
"American films will do more to convince my 
people of your people's sincerity than any other 
instrument. The more pictures of troops and 
sailors that can be circulated in Russia, the less 
will people believe the industrious Germans' 
reports of 'American bluff.' Plenty of printed 
matter is going around, but the Russian people 
are skeptical of writings — pictures are visible 
evidence, and they do believe them. 

"The Russian film manufacturers are at- 
tempting to effect a better circulation of film, 
and have organized a system whereby the reels 
are taken to the various places on the circuit by 
special messengers. 

"When I left Russia we were getting some 
film productions from the Nordisk company in 
Copenhagen. These were generally liked, and 
their principal leading man, Harrison, has be- 
come immensely popular. One of their recent 
successful American films was the serial, 'The 
Black Box.' Each episode drew a crowded 
house everywhere in Russia. Chaplin is enor- 
mously successful, and Max Linder has a wide 
vogue. 

"There are other fields in which America 
can help Russia onward and upward, such as 
educational films along agricultural lines, par- 
ticularly those showing methods of intensive 
farming, of which the peasants know little or 
nothing." 

Here is a delicate point in Mme. Botchka- 
rova's message: "By no means send pictures 
which lay stress on the democracy under which 
you are governed. The Russian people resent 
anything that has the appearance of outside 
influence, and they will not accept advice as to 
government coming from a foreign country. 
The Russians want to work out their own 
salvation." 

But German propaganda is doing just that 
thing — very subtly. The motion picture in- 
dustry is being organized on a tremendous scale 
in Germany.* Yet the United States leads the 



world in film productions, and, if we will act 
now, with the same speed we would manifest 
in meeting a little commercial demand from 
New Jersey or Alabama or Montana, we should 
have small difficulty in making their celluloid 
drive resemble a straggler's advance. 

As little things decide a battle, so-called 
side issues have often decided a war. Ameri- 
can films in Russia, now, will probably have a 
profound bearing on the destinies of centuries 
to come. 

It is of immeasurable significance to us that 
in the single vocabulary of German commerce 
and imperialism there is no such word as/' to- 
morrow." 

Twice in the Not long ago the middle-aged, 
Same Place. Hebraic head of a great film 
manufacturing concern came 
from New York to visit his Los Angeles plant. 
Among other things assuredly needing mana- 
gerial attention was the quality of the firm's 
comedies, which had become more funereal 
than funny. 

On an automobile trip with two of his 
executives the comedy subject came up, and the 
department heads were loud in their derision 
of the trash that passed as humor. The pro- 
ducer endured their guffaws for awhile, and 
then turned on them in sharp reproof: 

"Boys, our comedies are no laughing matter!" 

Still less did he comprehend their shouts at 
this sally, and when miles had been rolled in on 
the speedometer, and they were still chuckling, 
he exclaimed, with exasperated finality: 

"Say — now quit it, will you! I tell you again, 
our comedies are not to be laughed at!" 

IS 



The Fading Our lively old friend, the fight, is 
p:„Li in a bad way. For more than 

° ' half a dozen years he has been 

the pep of weak plots, the hope of half-baked 
actors and the refuge of hard-pressed directors. 
People used to gasp at Bill Farnum's fights, or 
Fairbanks'. Thousands of audiences have 
patiently endured four reels and a half of maud- 
lin picture for one fight at the finish. But have 
you noticed? — it takes more than a fight to hold 
them now. There are several ways of looking 
at this. Life today is just one jolt after another. 
One screen fight is pretty much like any other 
screen fight, after all. Audiences are really 
rising in artistic appreciation and are demanding 
something more of their producers than a handy 
set of knuckles at the finale. 

Honor awaits the director who will invent a 
handy and unfailing kick to take the place of 
the fading fight. The honor is that he will be 
the most copied man in the universe. 



68 



Photoplay Magazine 



The Costly In the early days of picture-mak- 
Picture. * n § tne sta 8 e producer's answer to 

effects of the screen set against 
effects on the stage was: "Well, you can get that 
sort of thing for nothing — just go out and 
photograph it. If we do it, on the stage, it's 
going to cost a lot of money." That argument 
was true then, but it's most untrue now. In 
1912 few five-reelers cost half as much as a very 
ordinary theatrical mounting. In 1918 the 
average five-reel picture costs as much to put on 
as a New York production by KlawckErlanger. 
In these six years the picture producers have 
called upon the customer, the builder, the. fur- 
nisher and the decorator for their finest, while 
performers' salaries and the expectations of the 
public have, hand in hand, gone out of sight. 

This is a fact that should be realized, and 
most certainly is not, by good writers. The 
novelist and the dramatist who begin to wr'te for 
the screen today write in anything — • crowds, 
buildings, set after set — because they feel that 
these things come easily, by a sort of magic, per- 
haps, to the maker of motion pictures. As a 
matter of fact the time is not coming, but is at 
hand, when the photoplaywright should be as 
careful about changing scenes, as careful of 
crowds and as parsimonious of mere optic 
effects as his brother who writes for the limited 
stage. Thus only will the man who produces 
his play be enabled to produce what the author 
does specify and must have in a perfect, or 
nearly-perfect, manner. The movies are out ot 
their days of quantity, and well into the day 
of quality. 

*K 
The Poison The compass points to North 
p as * and South, and the West to Re- 

juvenation — on the screen. New 
York may be renowned as possessing a big town, 
Illinois is great for corn, Indiana for literature 
and Ohio for tires — but all of them are darned 
poor places for a man to come back in. Hero 
or villain, leading or misleading lady, if ways are 
to be mended, deeds atoned, or the soul's valves 
ground, it must be done west of the Mississippi. 
West of the Missouri will give even better re- 
sults. While not deprecating the splendid calm 
of the Rockies, the imaginative repose of the 
great plains and the spiritual purge of the fiery 
desert, aren't we becoming a bit orthodox in 
making the American West the univeral pana' 4 
cea? Why, we all know that skunks grow on 
the range occasionally! So why can't we admit 
that the city has a wallop which may sometimes 
inspire — and acknowledge that to a lot of great 
folks the middle west has been a land of service 
or a valley of dreams? If the East is poison the 
scenarioist did the job- 
's? 
Mr. Griffith's The sun-plays of David Wark 

Personal Critic. hav , e , b ff n eul °g ized ,> or d '} s ' 
sected, by reviewers from the 

Avenue de l'Opera to the local weekly on 

Sunset Boulevard, the street where the mahster 

makes 'em — yet in all this brave phalanx of re- 

portial talent Mr. Griffith's favorite critic — his 

personal critic — is not to be found. 



Mr. Griffith's personal critic never criticises 
except on demand — by Mr. Griffith. He is the 
Griffith chauffeur, the same who drove the huge 
Fiat last year, and who is this year behind the 
wheel of the Packard limousine. 

He was among the many who were com- 
pletely muddled by the ancient intricacies of 
that crazy-quilt, "Intolerance." 

"How do you like it?" asked the producer, 
as they surveyed the first run of "Hearts of the 
World." 

The chauffeur turned with an expression 
akin to fervent gratitude. "Boss," he said, 
"thank God they ain't no Romans in this one!" 



Who Are Favorites A big group of motion 
In Your Town? picture exhibitors, repre- 

senting all of the United 
States, convened in New York recently, and in 
the course of general convention business took 
a straw vote on stellar popularity in their re- 
spective territories. That vote found clay feet 
on some of the supposedly all-gold gods, and a 
few of those not in the alleged top-notch class 
"showed surprising strength. 

It might be presumed that the Chaplin en- 
thusiasm would be unanimous, yet who would 
have predicted equal favor, in this convention, 
for William Farnum? Though a sterling and 
reliable actor, he has been cumbered with some 
pretty bad plays. Yet they were a unit for him. 

W. S. Hart came in for a lot of harsh criti- 
cism from these men whose only reviews are 
the reports of their cashiers. Particularly were 
the Westerners against him. 

While not unanimously acclaimed, Norma 
Talmadge and Mae Marsh were strong favorites 
in all sections. 

The convention didn't care much about 
Petrova, Nazimova, Constance Talmadge or 
Mabel Normand. 

And there were four votes against the super- 
nal and infallible favorite, Mary Pickford! 

Income-Tax The Famous Players-Lasky or- 
ReVelations. ganization recently sent its check 
to the government for $600,000, 
in payment of Federal taxes on its combined 
manufacturing and distributing organizations. 

Paramount- Artcraft is now doing a business 
of $400,000 a week, or thereabouts. And Par- 
amount-Artcraft has a fifth of the gross busi- 
ness done by the entire industry in the United 
States. The gross box-office income of the 
country hovers around $4,000,000 a week. 

While this is a healthy condition, and repre- 
sents an unprecedented expenditure for amuse- 
ment and diversion — which is in these times 
even more necessary than amusement — it may 
be well to call the careless enthusiast's attention 
to the fact that in these hours of colossal ex- 
penditure other manufacturing interests account 
for almost unbelievable sums of money every 
seven days, quite without any press-agentry 
whatever. The gross business of the General 
Electric Company during a single week in May, 
for instance, is declared to have been $23,000,000. 




sur- 



A recent pho 
tographic 
study of 
Miss 
Snow. 



"The Million Dollar Mystery," most famous of all serials, had Marguerite Snow as its heroine. 

IN the course of several years' experience in collecting data con- 
cerning the lives and works of more or less famous screen per- 
sonalities, a certain formula has become extremely familiar. If 
the person whose questionnaire cme is filling out has been in pic- 
tures since they were in their now familiar infancy, the fascinating 
information comes something like this:^ 

"A friend of a friend of mine was working at the old 
Biograph" — it is always the ''old" Biograph, though there 
never has been a new one — "and I went out to see how 
they made pictures. Well, I was sitting there watch- 
ing them, and the last thought in my mind was 
ever trying to do it myself, when a man pointed 
at me and said, 'Who's that little girl over 
there?' Well, you can imagine how 
prised I was. The man wanted 
me to go on right away and take 
a part in the picture. It was 
Mr. Griffith." 

So when I discovered that 
Marguerite Snow was of the pic- 
ture infantry and realized that 
she had not pulled this line, I 
prompted her. 

"A friend of a friend of yours 
was working out at the old Bio- 
graph—" 

"No," she interrupted. "It 
was Thanhouser." 

"But Griffith never directed 
at Thanhouser." 

"I never worked for Mr. Grif- 
fith." 

Here was a startling story — a 
girl who had been in pictures all 
this time and never been inside 
the Biograph studio, and was 
not discovered by Griffith. And 
yet they say there's nothing new 
under the sun! 

Nor did Marguerite have to 
run away from home to go on 
the stage. If she hadn't done it 
voluntarily her parents would, 
probably, have compelled her to 
do it. Her father was Billy 
Snow, a famous minstrel man in 
the days when it was open sea- 
son for that form of entertain- 
ment. They lived in Savannah, 
Georgia, and little Marguerite 
passed her childhood checking 
off the number of years before 
she would be permitted to be- 
come an actress. And she didn't 
have any discouragements to en- 
counter. Her debut was in 
James O'Neill's last revival of 
"The Count of Monte Cristo," 
after which she was engaged by 



She Never 

Worked 
for Griffith 



Marguerite Snow never even 
entered the Biograph Studio 



By 

Randolph 

Bartlett 




White 
69 



7 o 

Henry W. Savage. She was one of the many "College 
Widows" and enjoyed a great deal of success before she 
ever heard of movies. 

In those pioneer days, successful actresses who 
engaged in film adventure, were a little ashamed 
of it. They regarded it as slumming, and con- 
cealed their identity, so as not to lose caste. Mar- 
guerite Snow was no exception. When she went 
to work for Thanhouser she didn't want her friends 
to know about it so she changed her name. She 
called herself "Margaret" Snow. 

"Funny, isn't it?" she said. "But it isn't half 
as funny as some of the things that actors and 
actresses have their press agents send out to in- 
crease their popularity. Every time I pick up a 
moving picture tradepaper, these days, I discover 
that a certain star has just recovered from another 
automobile accident. I wonder how she ever gets 
time to do a picture. There's another one that 
seems to have a penchant for buying clothes, and 
there's usually a story a week to this effect. It 
looks to me as if she must be the buyer for a 
wholesale clothing house on the side. 

"It isn't always the fault of the stars, though. 
A press agent who was supposed to be keeping my 
name favorably before the public very proudly 
one day sent me a newspaper clipping, which be- 
gan, 'Miss Marguerite Snow disagrees with Daniel 
Frohman.' I wired him asking why he didn't have 
me pick on some one my size, like the President 
or General Joffre." 

"What are your own diversions?" 

"P'aying with the baby," she declared. 



Photoplay Magazine 



Another startling fact — a young actress who is a wife 
and mother, and isn't afraid that it will make the public 
hate her if it becomes known. Her husband is James 

' Cruze, and a mighty 

fine actor too, sepa- 
rated at present from 
his fireside by the en- 
tire width of the Amer- 
ican continent, for the 
Cruze-Snow home is in 
New York, and James 
is at Lasky's, in Holly- 
wood. 

Miss Snow's latest 
screen activity is the 
Wharton serial, "The 
Eagle's Eye," made at 
Ithaca, with which pa- 
triotic creation readers 
of Photoplay are fa- 
miliar. Before that she 
was with George M. 
Cohan in "Broadway 
Jones," and in various 
Thanhouser, Metro 
and other productions, 
and of course you re- 
member the heroine of 
"The Million Dollar 
Mystery." She had 
just finished the Flynn pic- 
ture when I met her. 
(Continued on page 112) 





This is Julie Cruze, Marguerite 

Snow's baby — and very patriotic, too, 

say we. 




Boy, Page Booth 
Tarkington! 



MR. TARKINGTON, we have just seen your play, 
"Seventeen," and we believe that we present 
you, herewith, the sole and original model of 
your young man in the momentous dress-suit — that 
dress-suit which was expanded for father, cut down for 
the son, rented by the tailor and damned by the whole 
family. 

The soulful lad with the bee-stung upper lip, lan- 
guishing in the photographer's best prop chair, is Wal- 
lace Reid, and beside him stands his mother. 

At this time Geraldine Farrar's future heavy lover 
was an inmate of Perkiomen Seminary. The year was 
1909, and eighteen summers had been made more 
glorious for Wallie's presence on earth. With these 
known dates the class in high-angle mathematics may 
now begin to figure out Mr. Reid's real age. 

He was then everything but an actor. He was a poet, 
an editor, a short story writer, a violinist, a bass-singer, 
a football player, a member of the track team, and a 
debater. 

After leaving school, Wallace Reid went to Newark, 
New Jersey, and began workaday life as a reporter on 
The Star. Then he went on the stage, shifted suddenly 
to cow-punching, went back into the newspaper game, 
and finally got in front of the camera. 







Colonel Mary 

of the 143d Field Artillery, U. S. A. 

HONORARY Colonels are not exactly novelties now. 
But here, fellow-patriots, is the first American Honor- 
ary Colonel in the present war: Colonel Mary Pickford, 
143d Field Artillery. 

Recently Colonel Pickford 's regiment took a long hike 
from its encampment and training quarters, in San Diego 
County, to Los Angeles. It was three days enroute, and 
the ranchers' wives, along the dusty way, fed it and bedded 
it and coddled it to the point of almost making it a 
pageant instead of a march. At the edge of Los- Angeles 
thousands of cheering people met the regiment, along with 
a score or so of newspaper men, Eastern correspondents, 
and camera men from the news weeklies. But Colonel 
Pickford was not one of these. She had gone far out into 
the ranch country, and did not' meet her boys, but arrived 
with them. Previously she had paid them a visit or so 
at their official home, Camp Kearney. 

Their deadly rivals, the Grizzlies, of the same camp, call 
them "Mary's Lambs." 



A Vampire Tale 



pire 



The Life Story of a Russian Vampire, Told by Her' 
self, with all the Crude Force of a Russian T^ovel. 

I AM Black, with little sin-shames in Me. No one knows to 
what Blacknesses I am driven — I do not know Myself. 

My earliest recollection is of a bright cold morning in Siberia. 
I was watching the snow-and-ice. The sun shone. Two men 
came — one a tall-dark man, in a bear coat. The other, a small 
man, in a coat of musk-rat. The tall-dark man stabbed the 
small man in the back. The sun shone. There was an ever- 
widening pool of blood on the snow. I laughed. 

In all my little-girlhood I never saw a Russian wolf-hound. 
But I longed to play Vampires. All women are Vampires. I 
longed to play all vampires but Cleopatra. Somehow I could 
not bring myself to want to play Cleopatra when I looked out 
upon the snow-and-ice. 

And all the time — even now, in my Career — is the memory — 
the cold-hot memory, that hurts me even while it makes me 
laugh — of the ever-widening pool of blood on the snow, back in 
Siberia. 

At the age of sixteen I became a member of the Russian 
Preparatory Art Ballet at Bakst Numph. This was necessary 
as preparation for the Russian Secondary School of Ballet at 
Splokvadst-Chille. After my graduation from the Preparatory 
and Secondary Schools of Ballet, I was pronounced ready for 
the Great Russian Imperial School of Ballet at Petrograd. 

There it was that the Man came into my life. He was a shoe- 
clerk who admired my dancing from his seat in the gallery of 
the Great Russian Imperial Ballet Theatre at Petrograd. 
Through a friend of his, who knew an usher, he met Me. He 
asked Me to marry him. I laughed. Always the memory of 
the pool of blood, widening. 

"Marry me, Sophie," he had said. 

"No," I shuddered brutally. 

A year later I read of his death. He had died. They came 
to me and said he had died in the Great Russian Imperial Hos- 
pital for the Mentally Incompetent. I know better. It was 
because of Me. 

And there was the Blackness — always. Then came the War. 
And I had a cable from the Gump Company of America to 
come across — and be their little Russian Vamp. I came. My 
brothers were both in the War — with the New Government, the 
latest new one. And as for Myself, I felt that I could do more 
for Free Russia in America than I ever could at home. 

And from the first, this America — so like a little laughing 
child— has captured Me. Since taking up my work as the 
Russian Vamp of the Gump Company, I have thought less 
and less of the ever-widening pool of blood on the ice-and-snow. 

71 



rand Crossing Jfij* Impressions 




IT was Up to Dorothy. 
She had to Do It 
To Take the "sh I" 
Out of Gish. 
Gish Never 
Stood for Pep — 
You Know That. 
Until Dorothy 
Came Along, 

As "The Little Disturber;" 
Stuck Out her Tongue, 
Wore a Saucy Tarn 
On Black Bobbed Hair, 
And Did a Swing-walk 
Across the Screen. 
Dorothy Did It. 
It was Up to her. 
And she's Doing it Now. 

When 

I Went Up to See her, she 

Was Having her Nails Done — short, so 

She Couldn't Bite 'em; and 

Everybody 

Was Giving her Advice 

About her Personal Appearance. 

(She Had to Speak 




Chicago, the Grand Crossing; the 
transfer-point for players on their 
flirtings from coast to coast. 

Chicago, a place where they change 
trains and, in the sad, mad scramble 
of luggage and lunch between, run 
up to see "PHOTOPLAY." 



At "Hearts of the World." 

"My teeth are Chattering," 

She Said Seriously : 

"I Might take 

My Knitting with Me; 

But I'll be 

So Nervous, 

The Needles'll Click, 

And Spoil Everything." 

"Mary Pickford 

Made a Grand Speech," 

Encouraged the Manicurist. 

"Yes, I Know," said 

Dorothy. "But 

Mary's so Wonderful anyway ; so 

Witty, and 

I'm not ; I'm Sure 

To Disappoint Them. 

I Hate to Do It—" 

"Marguerite Clark 

Spoke Here ; she 

Made a Grand Speech." 

"Yes," said Dorothy. 

"I Admire Miss Clark 

So Much." 

"I Should Think, 

Miss Gish," Said 

The Manicurist, "that you 

Would Have Brought 

Your 'Little Disturber' 

costume 
With You." 
'I Know," said Dorothy 

sadly ; 
"I Know. I Should Have. 
If 

They'd Only Told Me. 
I Know — " 



Stage 



As "The Little Disturber" in "Hearts of the World.". 



She was Almost 

In Tears, 

And Biting her Nails. 

But Just the Same, 

At the Theatre, 

When the Little Disturber 

Bounced Out on the Stase, 

And Told Them 
How Scared she was, much 
Preferring an Air Raid, 
Or the Trenches 
To a Personal Appearance — 
Everybody Sympathized with her, so • 
She forgot all about it ; and. 
Exiting, 

Did the "Little Disturber's" 
Own Funny Swing-walk — 
And Brought Down the House. 

You can't Put 

The Little Disturber 

On Paper. 

"I don't Ever 

Want to Go 

'Over There' 

Again," she Says. 

"I'm Glad 

I'm an American. 

Going Across, 

General Pershing Said he 

Wanted to Meet me; but I 

Was So Scared, being Alone, and 

Feeling Kind of Strange, 

I Stuck in my State-room, until 

Two Days before Landing. 

When I finally Met him, he 

Asked me where I'd Been ; and said 

He had Wanted to Meet me, ever since 

Lillian and I 

Had Entertained him and his Men 

In Mexico, 

On the Screen. 

I Wish 

I'd Thought 

To Have my Picture Taken 

With him," said Dorothy. 

And there's 

Mrs. Gish, mother of 

The Gishes. 

Her name is Mae, and 

She's as young as that. 

Both the Gishes 

Are Unspoiled; and I Think 

Mrs. Gish, mother of 

The Gishes, has 

A Whole Lot to Do with it. 

There should be 

An Interview with her. 

I'd Like to Write it. 



72 




) fiif-'Do ( ^Jfieif 

Do - <Jt 









THK is YOUR Department. Jump right in wit') your contribution. 
■*■ What have you seen, in the past month, which was stupid, unlife- 
like, ridiculous or merely incongruous? Do not generalize; confine your 
remarks to specific instances of absurdities in pictures you have seen. 
Your observation will be listed among the indictments of carelessness on 
the part of the actor, author or director. 







Warm Words, Likely 
N "The Marriage Lie," I noticed that while Carmel My- 
ers and the villain were having an earnest discussion, 
strong puffs of smoke floated across the room. Maybe 
"Pete Props" forgot the direction of the wind when he lit 
his pipe off the set. 

Fred Hutchinson, Bridgeport, Conn. 

Yes — Many Actresses Should Be Stenographers 

I WOULD like to contribute my plea to the many com- 
plaints that come from all sides relative to the "effi- 
cient" stenographers who appear in office scenes in pic- 
tures. It is really pathetic to see some two-fingered typists 
in a big office where only experts would really fit in with 
the air of efficiency and luxury. 

M. E. J., Camden, N. J. 

Perhaps Burbank Produced the Picture 

IN "Broadway Bill," featuring Harold Lockwood, I no- 
ticed that in the scene where the camp boss was instruct- 
ing his men to tumble a tree on Lockwood that the tree 
they were cutting was a silver birch. Yet, when it landed, 
the tree was a pine. 

Francis J. Bibby, Detroit, Mich. 

We're Not a Pilot, but It Seems Wrong to Us 

SESSUE HAYAKAWA and Jack Holt in "The White 
Man's Law" head an expedition into the Hinterland of 
Africa for "White Gold" or Ivory. Upon their return it 
is Falkland's (Jack Holt's) desire to explore a certain 
stream. Guingis (Sessue Hayakawa) agrees to go with 
him so the two start out in a boat with a negro rowing 
up stream. They are to meet Guingis' father and the 
expedition at the second night's camp. Guingis discovers 
the fact that Falkland is married and since Falkland has 
been trifling with Guingis' sweetheart there is naturally a 
struggle in which the occupants of the boat are thrown into 
the water. During the fight the boat floats down stream 
at a fairly good pace. Falkland reaches the boat, over- 
comes the African and we next see him pursuing his way 
dozen stream at a speed that would put a motor boat to 
shame. Then lo and beho'd! he reaches Guingis' father 
waiting at the second night's camp and all the time I 
thought that they had followed their course up stream just 
?s they were doing when lost to our view. 

Mrs. A. K. J., Portland, Ore. 

Did You See the Ark Around? 

IN "Rich Man, Poor Man," Marguerite Clark returns 
through a terrific thunderstorm to find her mother dead. 
According to the insert, "They find her several hours after- 
ward." The doctor is sent for, calls, and leaves, and all 
the time the storm rages without. Some thunderstorm. 

W. H. Price, New York. 



The Will to Live! 

IN an episode of "The Fighting Trail," "Shoestring" is 
driving a wagon containing a load of nitro-giycerine, 
when along comes the villain and takes a znot at the 
wagon. Instead of "Shoestring" being blown to bits, he 
seems to be only mildly injured. In another episode a man 
is shot in a running duel, but each time he got up and kept 
right on running. How do they do it? 

Elmer A. Biersach, Milwaukee, Wis. 

Skinner's Dress Suit Again 

IN "Twenty-One," a Bryant Washburn picture, the star 
leaves his residence to visit a dive in the slums appar- 
ently in the evening as we s^e his automobile lighted on the 
inside when he drives away — yet when he joins Dixie, the 
girl he instructed his servant to ask to wait for him as he 
would be detained, she tells him that it is very original for 
him to be wearing his evening c'othes in the afternoon. 

Mrs. R. J. N., Venice, Calif. 

SOME Moonlight/ 

WHEN the "Night Shift" of the munition workers were 
toiling in the Ninth Episode of the "Eagle's Eye," 
the sun was shining in through the windows in all its splen- 
dor and glory. 

W. P. V., Fort Wayne, Ind. 

Tibs 




Imagine Being a Barber There! 

CAN you explain how Tarzan, in "Tarzan of the Apes," 
apparently a normal youth, could grow to maturity 
without any sign of a beard? Was he born with a safety 
razor or did he shave with that knife he found in the hut? 

A. V. Seeds, Philadelphia. 

^'matter is Right 

IM "Exile," featuring Mine. Petrova, the villain, Perez, 
was conversing with his wife. He extended his hand 
towards her. A "c'ose-up" was shown of his wife and the 
villain's hand was a'so shown. It was his right hand. 
When the camera flashed back to the scene the villain was 
withdrawing his left hand. S'matter, Pop? 

D. W. B., Bloomsburg, Pa. 

73 



74 



Photoplay Magazine 




For the Conservation of Water 

IN Ann Pennington's "The Antics of Ann" I noticed one 
mistake. 

After Ann ran away and married Tom Randall, her 
father starts out to find her (presumably). The car stops, 
he gets out and removes the radiator cap. It smokes: he 
has no water. 

He goes to the nearest house for water which proves to 
be the place in which Tom and Ann are living. In his 
excitement he leaves the house, forgetting the water. In 
the next scene he is back at the hotel telling Ann's sister 
the news. 

How did he get back to the hotel without water? Some 
automobile! ! 

Florence Smith, Dundee, 111. 

Have a Heart! 

I REALIZE, of course, that France manufactures some of 
the finest silk stockings, and that possibly they are 
cheaper there than here ( I paid two and a half for the last 
pair I bought) but still do you really think Marie (Lillian 
Gish) in "Hearts of the World" would be quite likely to 
insist on silk hosiery to wear while going through the perils 
of life in a town in the hands of the enemy? I wonder! 

Moreover, picking potatoes and wandering in the fields 
is rather hard on hosiery, isn't it? She surely must have 
had a large supply. 

B. M. L.. New York. 

Per/taps It Rained on Him 

IN the ninth episode of "The Bull's Eye" I saw Ed Cody 
climb down a rope ladder and mount his horse and pur- 
sue the outlaws with his face all dirty. After riding some 
distance he comes to a halt and his face is clean. I didn't 
see him wash it nor was it likely that he would have put 
powder on. 

C. W. Youngstafel, Danville. 111. 

"Ain't It the Truth?" 

WHY, Oh, why? Last night I sat through a Burton 
travelogue and a Shriner parade in Cheyenne to find 
that Chaplin will show tomorrow. 

Hildegarde Rudin. 



We Wouldn't Say Bad 

HERE I am again. I'm a sorta bad penny. In •The 
Legion of Death," the hero, Philo McCullough, ap- 
pears with an army officer's overcoat, the three rows of 
braid on his sleeve denoting a major. Yet, when he takes 
off the coat, we see the captain's two silver bars on his 
blouse. 

And neither captains, majors, nor anyone in the U. S. 
Army use the Boy Scout salute — the fourth and fifth fin- 
gers folded into the palm. 

Laurence Cohen, Far Rockaway, L. I. 

In Defense of the Clergy 

TO me there is something disgusting in the way directors 
insult the ministry, making most ministers narrow- 
minded, hypocritical objects, always rolling their eyes 
heavenward and throwing up their hands in horror at the 
least thing. This was especially so in "Naughty, Naughty" 
with Enid Bennett. In all travels I have never met this 
type of man in any church, large or small, and it hurts me 
to see them portrayed in this manner. The most of them 
are loving, kind and though strict on certain things, do not 
deserve this burlesque. 

Mrs. L. Jones, Buffalo. N. Y. 

A Flight De Luxe 

DID you notice how very thoughtful "Jimmy" was in 
"De Luxe Annie" when he evidently packed enough 
shoes for Norma Talmadge so she could change from low- 
heeled ones, which she wore in the afternoon when she 
called on the "millionaire gin'ral store keeper" of River- 
side Corners, to 
high-heeled ones 
in the evening? 
And how well she 
skated in high 
heeled shoes! I 
didn't see all 
"them" shoes 
going into that 
one small travel- 
ing bag when he 
was packing it so 
hurriedly. .Did 
they sell them at 
the gin'ral store, 
I wonder? 
Marie Longen. 
Milwaukee. 

This Woman Dresses Quickly 

IN the game of "hide and seek" in "The Business of 
Life," Jacqueline begs for twenty minutes in which to 
hide herself. She is found hidden in a suit of armor 
mounted on a horse. I can't see how she made this diffi- 
cult change in the specified time. As I understand it, 
even in days of old the knights required aid to get into 
their armor. 

G. C, New York City. 





HAVE "YOU A FRIEND ? 

If you have any friends who are not acquainted with PHOTOPLAY- MAGAZINE, 
don't permit them to live in the darkness any longer. Throw a ray of sunshine into 
their lives. How? Easy! Just send their names and addresses to us, enclosing 
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shine. How'll we do it? We'll just send them a sample copy. That's all. 



The Photoplay League of America 

Being a preliminary account, and a listing of the reasons which have brought 
about the first All' American movement for clean, intelligent, patriotic pictures. 

By the Editor of PHOTOPLAY MAGAZINE 



ON numerous and sundry occasions commercial per- 
sons engaged in the manufacture of lurid, sala- 
cious, unwholesome or merely stupid and vulgar 
screen products have replied to interviews of pro- 
test: "We give 'em what they want!" 

But do they? 

Photoplay Magazine has long had its 
doubts that anywhere in this country is 
there a real demand for any except 
clean, diverting, human, uplift 
motion pictures. It has often ex 
pressed these doubts. 

And coincident with this edi 
torial force, has been a great 
unorganized wave of feeling 
among intelligent people all 
over the United States — 
for as intelligent people 
from Portland, Maine, to 
San Diego, California, 
have come to accept the 
photoplay and other mo- 
tion pictures as a mighty 
new means of world ex- 
pression — in just the de- 
gree that the potential 
power of the motion pic- 
ture has been recognized, 
to that degree has there 
been a demand for better 
pictures. 

That wave of feeling has 
taken shape. It has become a 
vital movement. It has crysta 
lized into organization. 

That organization is an actual 
fact today, and it is known as The 
Photoplay League o) America. 

Photoplay Magazine, the 
world's leading motion picture 
publication, takes pleasure in an- 
nouncing that The Photoplay 
League has honored this periodical 
by making it its official organ. 

In these pages will be found an 
account of the League, its organi- 
zation, its officers, its world- 
famous patrons, executives, direc- 
tors and aids, its plans, its meth- 
ods of work. The League will 
have a regularly conducted depart- 
ment in this magazine — a department of service, if you 
please, for service, to the whole country, is just what The 
League has been organized for. 

Xow then, returning to the lingo of the cheap manu- 
facturer, do they "give 'em what they want"? 

In the first place, no; in the second place, if there be any 
who think they want that sort of stuff, convince them that 
they do not by showing them better things. 




M 



[YRA KINGMAN MILLER, President of the 
National Federation of College Women, who has 
been made executive secretary of The Photoplay League 
of America, in active charge of its organization work, and 
also chief of its editorial activitities. Mrs. Miller is one of 
the foremost feminists and public workers in the United 
States. She has established The League's organization 
offices at 185 Madison Avenue, New York City, and 
beginning next month will handle The League's regular 
department in these pages. Mrs. Miller has been requested 
to permit the publication of some very interesting data 
concerning her own work and career, in next month's issue. 



The organization, the work and the men and women be- 
hind The Photoplay League of America make a narrative 
total so big, so impressive, that the editor finds it impos- 
sible to give it all to you in this September issue because of 
a sheer lack of time and space. 

So, first of all, let us survey the field, the reasons for the 
necessity of such an organization, and what 
it can do and must do. 

In the first place, understand that 
this is no movement of theorists, no 
self-advertisement of a lot of spirit- 
ual quack doctors, no "high 
brow" undertaking to "elevate" 
motion pictures as a lot of lofty 
foreheads have from time to 
time endeavored to elevate 
the stage. 

The Photoplay League 
of America is, to speak fig- 
uratively, a big and per- 
manent signboard on the 
road of motion picture 
progress. It will point in 
the right directions. It 
will be a constructive, 
helpful guide. 

It will be the national 
clearing-house of clean 
pictures — good pictures. 
And by "good"" we don't 
mean nasty-nice. We mean 
intelligent — artistic — inspir- 
ing, just as we use the word 
"clean" to define those healthy, 
optimistic, fresh-blooded emana- 
tions of imagination which are 
and must remain typically Amer- 
ican. 

Why — see here! America is to- 
day the roof over a sick earth, the 
big brother of a naughty little 
world. America is healthy. 
America is clean. America is 
cheerful — and therefore we resent 
with all the force that is in us 
pictures that are not clean, that 
are not healthy, that are not 
cheerful, because they lie about 
us and pervert our national sense 
as well as being immoral. 

The Photoplay League of Amer- 
ica is not engaging in the manufacture of motion pic- 
tures. It is not passing around a set of sophomoric rules 
to the existing manufacturers of motion pictures. It pre- 
sumes to tell no man, in that spirit of insufferable 
interference common to all too many "movements." how- 
to run his business. But by the Jehovah of lights and 
shadows, it will, day and night, in season and out of sea- 
(Continued 011 page 117) 



*■ Hfirnri 



Feder-Sriallcroit 



Pauvre Enfant? Merci — Non! 

Or, in plain, everyday U. S., Madge Evans 
not a pallid chee-ild of the drama. 



is 



LES pauvres petits enfants du theatre!" a French 
writer exclaimed, going on to explain that "Those 
poor little children of the theatre 
are like pallid flowers, grown in 
hot-houses under artificial light, beau- 
tiful with the tragic loveliness of 
whatever is fragile and doomed to 
early death. For, while they 
may not die — these poor lit- 






,, 




tie ones — their exotic loveli 
ness never bears fruit. For 
the sake of a tear or a 
smile they are condemnerl 
to sterility." 

More or less true. 
Who, that knows 



Campbell 




jf 




the theatre, has not encountered the spindle-shanked 
youngster, wise with the uncanny sophistry of his trade, 
precocious to an unendurable degree, and 
making the fingers itch to deliver a good 
spanking, whether or not the "pauvre 
petit" happened at that particular mo- 
ment to deserve castigation? 

Enter Madge Evans — exit the picture 
of the pallid chee-ild. 

Of course, Madge isn't exactly a 
stage "enfant." And the life of the 
movie youngster is much more varied 
and healthy than that of the child who 
lives in the more circumscribed sur- 
roundings of the parental footlights. 
And then too, Madge has traveled — 
traveled all the way across the At- 
lantic. 

As already intimated, there is noth- 
ing pallid or exotic about this lively 
little youngster. She has a good, healthy 
flavoring of tomboy in her makeup. 
Beginning at the very beginning, Madge 
was a favorite baby model at the Carlton 
Studios, London, before she knew or cared much 
about what was going on around her. Then, later 
on, in Xew York, Jack Pratt, then casting director 
for Augustus Thomas' picture company, realized 
Madge's charm and was instrumental in launching 
her screen career. As a result of his interest, Madge 
appeared in "Shore Acres," "The Garden of Lies," 
with Jane Cowl, then, with World 
and Captain Robert Warwick came 
"Alias Jimmy Valentine," "Old 
Dutch," which starred Lew Fields. 
There followed then with Famous 
Players, "Za Za" with Pauline 
Frederick and "The Seven Sisters," 
with Marguerite Clark. Then 
William A. Brady saw the 
possibilities of the little 
lady and she became the 
star of her own plays, 
notably, "Gates of 
Gladness," "The Vol- 
unteer," "The Little 
Duchess," "Adven- 
tures of Carol," all di- 
rected by Harley 
Knoles. Too, she 
. scored this winter in 
\ the stage version of 
"Peter Ibbetson." 



Little Madge Evans 
wants it particularly 
understood that she 
is all American, and 
was born in New 
York City. 





The Shadow 
Stage 



A Department of 
Photoplay Review 



By Randolph 
Bartlett 



It would be hard to imagine anything more popular than the combi- 
nation of Mary Pickford and springtime in"HowCou!d You, Jean?'' 



I 



WISH I were criticizing pictures, I'd tell 'em a thing 
or two," a snappy young person said the other day. 
with a toss of the head which intimated that she did 
not approve the manner in which criticisms in gen- 
eral, and certain criticisms in particular, were allowing the 
guilty to go unpunished. Which reminded me of a letter 
received a few days before, in which the writer said she 
didn't believe I knew much about pictures because I didn't 
mention the fact that a certain handsome hero, in a picture 
I had reviewed, came out of a two-weeks' baggageless jour- 
ney through the wilderness without a sign of a stubble on 
his cheeks. My review 
of the picture was four 
lines long. 

Well, it all depends. 
Criticisms are written 
for various purposes, de- 
pending upon the atti- 
tude of the writer to- 
ward the reader. A 
great many are written 
to please the vanity of 
the writer, to display his 
facility of phrase. These 
are almost always ad- 
verse criticisms, for any 
fool can be funny when 
he is finding fault. It 
takes a good deal of 
ability to make favor- 
a b 1 e criticism interest- 
ing. "But Elbert Hub- 
bard, in one of his in- 
spired moments, 
remarked, "He w h o 
habitually criti- 
cizes without giving rea- 
sons, descends to the 
level of a common 
scold." Moreover, it 
was to relieve criticism 
of the necessity of point- 
ing out when the hero 




Pauline Frederick is the screen's greatest mistress ot 
the art of suffering beautifully. 



shouid have needed a shave, or changed his coat, that 
Photoplay established the "Why-Do-They-Do-It?" page. 
Again, criticisms are often written for the naive purpose 
of telling the world at large whether the writer was or was 
not entertained by the picture. Of what possible interest 
or value can such criticism be? The person who is engaged 
in the task of constantly viewing pictures, professionally, 
reaches one of two extremes, so far as his own taste is con- 
cerned. His vision becomes so numbed that he neither 
likes nor dislikes anything, or he develops personal likes 
and dislikes so intense that they possess him completely. 

Now if he is in the lat- 
ter mood, no person, 
who is not constituted 
exactly as he is, will 
agree with his criticism. 
It will be of no value, 
unless that particular 
critic is so great an in- 
dividual that his opin- 
ions are read with 
avidity. 

The only critic who 
is doing his readers a 
real service, then, is one 
who is able so to cast 
aside his prejudices that 
he can see the intrinsic 
value of a picture, aside 
from its effect upon his 
own emotions. Anyone 
can be clever at the ex- 
pense of a producer or 
an actor, but it requires 
real ability to tell what 
a production is actually 
like, without bringing 
personal taste into the 
matter. 

"I- just had the most 
delicious dish I ever 
tasted," said one man 
to another. 



78 



Photoplay Magazine 




German spies in Scotland furnish the punch in "Patriotism," with 
Bessie Barriscale. 




Louise Glaum as a magdalen in "Shackled," is beautifully gowned. 
The story is a bit too hectic for the high school age. 




George M. Cohan in " Hit-the-Trail-Holliday" is all that could be 
demanded of this human dynamo. 



"What was it?" the'other asked. 

"Tripe and onions," said the first. 
Ugh!" and the second looked disgusted. 

The aim of the Shadow Stage is not to tell you whether 
or not the writer of these observations did or did not like 
the fare provided, but to let you know something of what 
is on the bill of fare, and steer the man who is hungry for 
corned beef and cabbage away from the fried chicken 
Maryland. And so: 

HIT-THE-TRAIL-HOLLIDAY— Artcraft 

George M. Cohan is the Barney Oldfield of the stage. 
His first two attempts to transfer this spirit to the screen 
were not complete successes. His third, "Hit-the-Trail 
Holliday," however, is all that could be demanded of this 
human dynamo. The fact that Marshall Xeilan directed 
from an Emerson-Loos scenario had more than a little to 
do with the achievement. It is the story of a Billy Sunday 
type of bartender who preaches prohibition and in a small 
town overthrows the German brewer boss. It is the essence 
of Cohan throughout — Cohan of the naively questioning 
glance, the swift and decisive movements, the restless intel- 
ligence, the dominating personality. It leaves nothing to 
be said. 

HER FINAL RECKONING— Paramount 

Pauline Frederick is the screen's greatest mistress of the 
art of suffering beautifully. In "Her Final Reckoning," 
picturized from the novel, "Prince Zilah," she has one of 
her best, if not most original, roles. A woman with a past 
marries without telling her husband about the other man, 
and he leaves her on their wedding day, only to be recon- 
ciled after much unhappiness. Miss Frederick was never 
lovelier nor more intense. Is there no means of exploiting 
this talent except through the medium of messed-up 
women? 

SOCIAL QUICKSANDS— Metro 

At last a Bushman-Bayne picture in which Miss Bayne 
is first, instead of second violin. In "Social Quicksands'' 
the lovely Beverly plays the part of a social butterflv who 
makes a wager that she will bring to her feet a bachelor 
who scorns the set in which she moves. It is done wilh 
charm, vivacity and humor, in beautiful scenes. 

GOOD NIGHT, PAUL— Select 

Xot even the vivacious charm of Constance Talmadge 
could conceal the long, grey whiskers on the plot of "Good 
Night, Paul," in which a young man pretends his partner's 
wife is his own to get money from a name-worshiping uncle. 
This is the plot of about half the Keystone comedies, and 
the situations remain about the same, with a slight touch 
(if the risque, carefully denatured. Xor could the thread- 
bareness of the plot conceal the fact that this second of 
the Talmadges is one of the greatest comediennes now occu- 
pying space on the silversheet. She has won her spurs. 
Xorman Kerry and Harrison Ford are of great assistance. 

A DESERT WOOING— Paramount 

A young woman marries a man for his money, with a 
half promise to a roue to be untrue to her husband. Xot a 
very nice beginning, has "A Desert Wooing." The plot 
cleans up, later. The husband is something of a rough 
lover, and when the roue pursues the couple into the cactus 
west, there is a thrashing awaiting him. Follows then a 
shooting, and a final close-up for husband and wife. Enid 
Bennett plays the wife with much speed and prettiness, 
though her method of handling a gun would hardly do in 
France, I believe. Jack Holt is a handsome hero for a 
change, and takes kindly to the work. It is a lively pro- 
duction, slightly tinged with suggestiveness at the outset. 



The Shadow Stage 



79 



PATRIOTISM— Paralta 



German spies in Scotland furnish the punch in "Patri- 
otism," with Bessie Barriscale impersonating a lovely young 
nurse who prefers a stranded American to a hospital doc- 
tor. The jealous doctor mendaciously causes the American 
to be suspected of working for the Germans, but the lovely 
nurse discovers the secret of the plotters in a ruined abbey. 
There are many inconsistencies in the story, such as Ger- 
mans signalling submarines from a spot in plain view from 
the windows of a military hospital. The fine acting of Miss 
Barriscale and Charles Gunn. together with the excellent 
Brunton production, save the situation. 



SAY, YOUNG FELLOW— Artcraft 

The well known Fairbanks smile and the equally well 
known Fairbanks athletic prowess are utilized for both 
comedy and thrills in his latest picture, "Say, Young Fel- 
low." A reporter in a small town is sent to unearth a cer- 
tain fraudulent factory scheme, and with the aid of a smile, 
acrobatics and girl he turns the trick. It is distinctly a 
Fairbanks story, and it was written for him by his director, 
Joseph Henaberry. Marjorie Daw is the love interest. 
Frank Campeau, Edythe Chapman and James Xeill have 
important roles. 



"HOW COULD YOU, JEAN "—Artcraft 

"How Could You, Jean?" gives us Mary Pickford in an 
April setting. The rather slender plot winds its way cheer- 
ily through a background of babbling brooks, young lambs 
and apple blossoms. It tells the story of a society girl, 
posing as a farm cook, who falls in love with a millionaire, 
masquerading as a hired man. It would be hard to imagine 
anything more popular than this combination of Mary 
Pickford and springtime. 



THE FIREFLY OF FRANCE— Paramount 

"The Firefly of France" has caught all the romantic 
glamour that surrounds the American aviator in France. 
Our hero foils a horde of German spies, rescues a French 
officer and is rewarded by his pretty sister. Wallace Reid 
makes a dashing aviator, with Anne Little as his dauntless 
sweetheart. 



THE SOAP GIRL— Vitagraph 

A delightful comedy of the nouveau riche with Gladys 
Leslie in the title role. It is written around the blunder of 
a well-meaning old father who uses his daughter's pictures 
in his advertisements to advance her socially. The really 
original plot has been developed with unusual skill by Mar- 
tin Justice. He brings out in Gladys Leslie, unsuspected 
talents for spontaneous comedy. 

A WOMAN OF REDEMPTION— World 

"A Woman of Redemption" is a refreshing story of love 
and outdoor life. The hero, who has been wasting his 
youth in city dissipation, is reformed in the wilds. A beau- 
tiful mountain girl, played by June Elvidge, assists nature 
in her work of redemption. 

STATION CONTENT— Triangle 

"Station Content" is a sincere and human story woven 
about a telegrapher's station. Gloria Swanson plays the 
wife who seeks happiness on the stage only to find it in the 
home she deserted. The direction makes the most of the 
thrills that always accompany a railroad drama. 




'A Woman of Redemption," with June Elvidge, is a refreshing story 
of love and outdoor life. 



& 


[i 


Jt 


!y ' 1 


■ 



In the role of a social butterfly Beverly Bayne plays first, instead of 
second violin, in "Social Quicksands." 




'The Last Rebel" has a background abounding in Old Kentucky 
Homes and dialect subtitles. 



So 



Photoplay Magazine 




In "The Firefly of France" Wallace Reid makes a clashing aviator, 
foiling a horde of German spies. 




'The Venus Model" exploits Mabel Normand as an invintive and 
energetic factory girl. 




'Madame Sphinx" presents the picturesque combination of Alma 
Rubens and an Apache romance. 



MADAME SPHINX— Triangle 

"Madame Sphinx" presents the picturesque combination 
of Alma Rubens and an Apache romance. The lady cap- 
tures a handsome French outlaw in his native haunts, only 
to discover that he is of her own people and decidedly not 
a villain. The symbolism of the fantastic "Apache Dance" 
is woven through the action very effectively. It is a set- 
ting perfectly adapted to the star's glowing beauty. 

THE LAST REBEL— Triangle 

"The Last Rebel" is a romance of the old South and 
modern New York. The hero in a brisk business suit de- 
votes himself to overcoming the prejudices of the heroine, 
whose mind is still in crinolines. The background abounds 
in Old Kentucky Homes, faithful darkies and dialect sub- 
titles. 

A MAN'S WORLD— Metro 

Emily Stevens returns to the screen after her customary 
stage season, in an adaptation of the Rachel Crothers 
drama, "A Man's World." When this drama was written 
and first played by Mary Mannering (and that isn't so 
long ago) very few states had woman suffrage, and con- 
ductorettes were unknown to the western world. With the 
almost perfect emancipation of woman that now exists, 
the cries of Frankie Ware that this is a man's world sound 
a bit hollow. Yet 'tis a pleasing fable. Frankie adopts 
a child, is loved by the publisher of her books, and the 
jealous previous enamorata of the publisher causes him to 
believe that the child is Frankie's own. He accuses her, 
and she turns the tables by proving, to her own surprise, 
that he himself is the father. Miss Stevens is as of old. 
She is no sugar-plum ingenue, but a woman of intelligence, 
making vivid even this rather unconvincing role. 

THE WHIRLPOOL— Select 

Alice Brady, one is led to hope by her latest offering, 
has departed from the ranks of the vamps and vamped. 
In "The Whirlpool," for the first time in a long while, 
there is no sex aberration in her heroine's history. Em- 
ployed by her stepfather as a decoy in his gambling house, 
a young woman falls in love with a judge who is worried 
to the verge of nervous prostration over a case concern- 
ing a young man whom he had paroled, and who was one 
of the unwilling girl's victims. She sets about to right 
matters, and though there is a near-tragic misunderstand- 
ing, she succeeds. Miss Brady had never been so beautiful, 
never so much the artist. And for the wonderful mountain 
scenes in which a great deal of the action is staged, a 
public, eyesore from sordid settings, will shout its thanks. 

THE KAISER'S SHADOW— Paramount 

If Wilhelm could get to it, he would be bringing suit 
for a share in the profits of the films named after him these 
days. "The Kaiser's Shadow" is another picture dealing 
with spy plots. Dorothy Dalton pretends, to be a spy, 
and falls in love with a German, only to discover that he 
is a secret service man and loved her despite the fact 
that he thought she was a Gerwoman. Many thrills and 
narrow squeaks enliven the action of this melodrama, which 
leaves a much better taste in the mouth than most of Miss 
Dalton's recent efforts. 



THE VENUS MODEL— Goldwyn 

"The Venus Model" exploits Mabel Normand as an in- 
ventive and energetic factory girl. While designing a 
fetching bathing suit and making a fortune, she finds time 
(Concluded on page 102) 




Charles, Not Charlie 

Concerning a scrious'minded man whose screen personality 
is better \nown than any other being in the world. 

By Julian Johnson 



IN Los Angeles. I received a telegram from Chicago. 
•"Get a story about the real Charlie Chaplin." 
This would not be impossible; only rather super- 
fluous. 
Charlie Chaplin is the best-known man in the world. 
Charles Chaplin is perhaps the least-known man in the 
world. 

Charlie is the quaint capering figure of the screen. 
Charles is the serious, somewhat sad, somewhat shy and 
always pensive man who creates and controls the capering 
mute of the shadows. 

While Charles is very little known, it's far from easy 
to say anything at all about him that doesn't buck against 
one or more of the Chaplin traditions. There are more 



Chaplin rumors, legends, accounts, reports and beliefs than 
cling to many a system of religion, even though their sub- 
ject is still of draft age, and has been an international 
celebrity less than four years. 

They cover all points of his public and private life. 
Groups of them are beautifully contradictory. 

We learn from one school of the Chaplin reporters that 
he is a morose bird, venturing forth only to work, or for 
solitary prowls. From another, that he is a gay spark. 

We are told that Chaplin is a horribly ignorant fellow. 
And that he is a man of profound cultivation. 

That he is an ace of aces with the ladies. Also, that he 
hates all women. 

That he is a coward subject to night sweats brought on 



8; 



Photoplay Magazine 



by fear of the draft. That he is a physically weak patriot 

who has hurled himself ineffectually, and again and again, 

1 the bayonets of the medical examiners. 

That he is a low, mean little miser hoarding his hun- 

ds of thousands like a celluloid Uriah Heep. That his 

unknown charities are prodigal and unbounded. 

That all he knows is a set of capers which has tricked 
the fancy of the world. That he wants to play Hamlets, 
: such like. 

Whether I succeed in bringing Charles Spencer Chaplin 
before your eyes or not, here are at least a few realities. 

Charles' dislike of crowds has been the subject of more 
commentary nonsense since he went out on the Liberty 
Bond tour than any other phase of his character. The 
emetic drivel of amateur female reporters has really added 
i<< the ironic suggestions of case-hardened he-scribes that 
this is all a pose. 

It is not. 

Charles has only one refuge left, in the way 
of a city, where the curious do not molest 
him. That is that delightfully com- 
posite pueblo of Iowa, celluloid and 
L'lobe-trotting millionaires known as 
Los Angeles. In Los Angeles screen 
-tars of extraordinary calibre are as 
common soil as the Kaiser in Pots- 
clam, and you scarcely turn to look 
at one even if you step on its foot. 
In Xew York, London and Paris 
< harles Chaplin would be mobbed. 
In Los Angeles he can go to the Alexan 
dria's Indian Grill without drawing any 
more eyes, than — say — George Gould in 





people to like him. But the staring — the whis- 
pers — the pointing — the comments I'm not sup- 
posed to hear and can't help but hear — being 
followed — these things are another side of it all. 
"I remember the trip I made to San Francisco 
after my early successes in Mack Sennett's come- 
dies. ]\Iy name wasn't on the screen, but I'll never 
forget the thrill I got when, on Market street, I heard 
one man say to another: 'There's the funny fellow 
that you see in pictures with Mabel Normand.' I had 
arrived! This was fame! I didn't get over it for a whole 
day, and I stood around waiting to have some one else pull 
a recognition. I didn't get it. 

"I want to be myself, that's all. Why can't people dis- 
sociate an actor from his work, and take the work as it 
is, and the man for what he is, as they do a business man? 



^ 



Sherry's. 

And it was in the 
Alexandria that I found 
him. one evening, and 
he brought up, quite cas- 
ually, this subject of 
public attention and side- 
walk notoriety. 

"Look here!" said he. 
"I'd be foolish to say 
that I do not enjoy be- 
ing a public favorite. 
\ny human being wishes 




Charles, Not Charlie 



83 



I like people. But I like them only when 
they're perfectly natural, and when they 
let me be perfectly natural. As I grow 
older, I try to keep closer and closer to 
the ground, for most endeavors are so 
futile; so little of what any of us do 




really counts 
f o r anything, 
like to go amonj 
people and get in 
timately a c 
q u a i n t e d with 
1 heir loves, their 
hates, their poli- 
tics, their religion, 

\ hat they like to eat, and how they have 
their good times. So, when in a great bunch 
of human beings I see on every face only 
one emotion, curiosity, I want to get away as fast as 
I can." 

On another occasion we were speaking of his vari- 
ous roles, and I find that his favorite bit, in all his 
pictures, is that episode of the tawdry little bouquet 4fl£ 
of flowers, in "The Bank." Here Purviance, if you re- jm+, 
member, plays a beauteous stenographer, while Charles U! 
enacts a janitor of the same front name as the cashier, ^ 
of whom she is really enamored. Charles mistakes her ^ 
sentiments entirely, and his joy is unrefined until he finds 
his nosegay angrily dumped in the wastebasket, while her 
sneer tells him a sadder truth than mere refusal: that he 
doesn't, and never will belong. In the 
ensuing bit of almost motionless pan- 
tomime, Chaplin struck a note 
of tragedy which in its depth 
a n d universality was 
really Shakespearean. 



The serious bits in all of his plays are the episodes 
he likes most. He worked harder upon the restaurant 
scene in "The Immigrant" — with jts elusive fifty-cent 
piece, its ferocious waiter and the cordial diner who 
finally out-fumbled him for the check — than upon 
anything he has ever put across. 

Chaplin as a producer on his own puts himself straight 
into nervous debility at the end of each picture. Here is 
his account of it. 

"I am almost at the end of all 

possible effects. Everything 

has been done, in almost 

every way that it can be 

done. For instance: I 

started a new piece with 

a scene coming through a 

door. What's funny about 

that? I've got to get on 






the set, and I must get a 
laugh as I come on. I can't 
wait until the middle of a reel t 
for a laugh. It is absolutely X 
necessary for me to start in 
high and keep going every mo- 
ment. The people expect it. If 
I don't give it to them, my dear- 
est friends are going to be first to 
say I'm slipping. All the old funny 
tricks of entrance are out, because 
they no longer contain any element of 

(Continued on page 117) 




Educational Films 

A department of service in the application of the 
motion picture to one of its greatest fields of usefulness 



C 



LAXG! Clans! 

There goes an ambulance — sliding through the 
evening shadows along a tenement side-street. 
Children, playing before bedtime, fall back from 




At Unde Sam's suggestion, Essanay is producing a 
series of six short reels on domestic science. Eleanor 
Lee Wright, a food expert, appears (as shown at lower 
right) demonstrating "conservation without starvation."' 



the gutters to permit its passage — children who 
shout — 

"Come on, fellers — free movies!" 

The kids are right. Movies! Educational 
movies, projected from the roof of the ambu- 
lance, thrown fourteen feet onto an impromptu 
screen. 

This is in Cleveland, where the health depart- 
ment has a more constructive way of adminis- 
tering to its citizens, other than by merely 
rushing them to the emergency wards when 
mangled or stricken. Cleveland is enlivening 
i's local "Better Babies" campaign by motion 
pictures, reaching into the furthermost corners 
of poorer districts. At appointed evening 
hours, reels are shown, demonstrating the proper 
care of infants. Scores of mothers stand around 
these ambulances as the pictures flicker on the 
screen, reared up against tenement walls. Lec- 
tures are delivered in conjunction with the 
pictures, announcement of which is made some- 
time during the day when a place of showing 
has been decided upon. 

Each of Cleveland's ambulances possesses full 
motion picture equipment. The unique plan is 
in charge of J. D. Halliday, of the Health De- 
partment. 

Municipal cognizance of the educational 
power of the motion picture is not confined to 
Cleveland, however. Comes to mind a little 
midwestern city that has itself established a 
theatre; more than that, the theatre is in one 
of the best rooms in Wisconsin's state capitol 
building. The town is Madison, and the man 
who evolved the idea is M. F. Blumenfeld, su- 
perintendent of Public Properties. 

84 



"I designed the picture show idea originally," explains 
Mr. Blumenfeld, "as a place for furthering the patriotic 
spirit. We showed a number of patriotic reels, such a? 
'Paul Revere's Ride,' 'How England Prepared,' 'The Birth 
of the Flag,' and 'Civilian Preparedness.' Now we are 
adding comedies and other educational features." 

And read of more Wisconsin bustle — 

The University of Wisconsin has 600 reels of live educa- 
tional films. They have helped the rural schools through- 
out the state get their projectors and now fully 50 per 
cent of the schools use the hundreds of college reels. 

The Rev. Leonard E. Blackmer succeeded in increasing 
his attendance at the La Crosse, Wis., St. Paul's Univer- 
salist church, 500 per cent as a result of religious movies 
in conjunction with Bible class lessons. 

Which brings to mind the fact that in Las Vegas, Tex., 
the Bible Film company is now working on Sunday school 
lessons and stories from the Bible. The desert lands 



Educational Films 



85 




Photo by Committee on Public Information 

American soldiers in the trenches in France, as shown in 
the Government patriotic film, " Pershing's Crusaders." 

around Las Vegas and the interior of the old Montezuma 
hotel are largely used for settings. Xo commercial players 
are employed, only those who have theology primarily at 
heart. 

The Iowa State college is working industriously to get 
projectors into the rural schools through the state, in order 
to give the state the benefit of the many reels on agri- 
cultural and general informative topics the college has on 
hand. 

At present by far the greatest planet in the entire cycle 
of educational films is the United States government motion 
picture propaganda. In both size and significance this 
new-born body eclipses all other elements. 

The government has chosen the screen as one of its 
main methods of accounting to the nation as to what it 
has been doing with its time and its money in a year and 
more of war. 

To exterminate any spirits that do not contribute to 
the impetus for the winning of the war. Uncle Sam is 
putting out his pictures, the first of 
which is "Pershing's Crusaders." A 
special division of motion pictures was 
created in Washington, as part of the 
Division oh Public Information. In 
each of the centers in which the pic- 
tures will be shown, local co-operation 
by city and state officials is used 
to derive the greatest effective 
ness of the film's showing. 

At the suggestion of the 
United States government as 
a means of 
teaching 
food conser- 
vation, the 



The 



Essanay Film Company has begun the production 
of six short films on domestic science. 

Eleanor Lee Wright, an expert in foodstuffs, 
will illustrate best ways to conserve. The sub- 
titles will tell how to employ various cuts of meats 
to the best advantage and make palatable dishes. 
Also the combination of wheat with various other 
grains will be illustrated, showing the many kinds 
of attractive breadstuffs that can be made from 
the combinations and from cereals other than 
wheat. 

The life and works of Thomas A. Edison — the 
boy and the man — is now being filmed for the 
General Electric Company. These reels are to be 
distributed through the schools. 

"Life Among the Lobsters" is one of the reels 
being produced by Walter Brind, of New York, 
formerly practical pisciculturist of the Royal 
Aquarium, Westminster, London. Mr. Brind is 
taking, in all, nine reels of aquatic life under 
water, showing the minor forms of sea life. These 
films are to be sold to schools, 
growing 



fraternity be- 
tween France 
and America is 
pictured in a 
series of photo- 
plays now be- 
ing produced in 
France under 
the supervision 
of Leonce Per- 
ret, director of 
the Pathe stu- 
dios in France. 
The picture is 
to be official- 
ized by the French government. The officializing com- 
mittee includes such eminent personages as M. E. 
Ratisbone, chief of the French photographic division, 
Gaston Liebort, French Consul, M. 
Guy, head of the department of French 
propaganda in the United States, and 

M. Lucien 

"Babes in the Woods has 
been picturized and thus one 
more childhood classic be- 
comes more vivid than the 
story book tells it. 



Ask This Department 

1. For information concerning motion pictures 
for all places other than theatres. 

2. To find for you the films suited to the pur- 
poses and programs of any institution or 
organization. 

3. Where and how to get them. 

4. For information regarding projectors and 
equipment for showing pictures. { Send 
stamped envelope). 

5. How to setur? a motion picture machine free 
for your school, church, or club. 

Address: Educational Department 
Photoplay Magazine, Chicago 



M u rat ore, 
the singer. 





ays and 




Real news and interesting comment about 
motion pictures and motion picture people. 



<By CAL YORK 



DOROTHY DALTON is the god- 
mother of Company D, 115th En- 
gineers. She is shown above presenting 
one of "her boys" with a sample of the 
ten thousand cigarettes she gave to the 
Engineers. All bridges which these en- 
gineers will erect in France will be known 
as the Dorothy Dalton bridges. 

DECLARING motion pictures are es- 
sential in the present crisis for the 
education and amusement of the people, 
several United States Government officials, 
including Secretary McAdoo, George 
Creel, H. A. Garfield, and Herbert Hoover, 
have written letters in which they dis- 
cuss the situation in connection with war- 
time non-essentials. Creel says: "I be- 
lieve in the motion picture just as I be- 
lieve in the press; the motion picture in- 
dustry as a whole has put itself squarely 
behind the Government and at the dis- 
posal of the Government, and I cannot 
speak too highly of the importance and 
effectiveness of its service." McAdoo 
writes: "I should look upon it as a mis- 
fortune if moving pictures or other clean 
forms of amusement in America should be 
abolished." Hoover and Garfield express 
practically the same opinions— that the 
photoplay plays too important a part in 
the education of the public ever to be 
regarded as a non-essential. 

PAULINE CURLEW Harold Lock- 
wood's little blonde opposite in sev- 
eral pictures, has left Metro for Artcraft 
where she will appear as leading lady for 
Douglas Fairbanks. Bessie Eyton. for- 
merly of Selig. will take Miss Curley's 
place in the Lockwood company. 

LUCIEN MURATORE. the great 
French tenor, appears with his wife, 
Lina Cavalieri, in her new Paramount 
picture, in which Cavalieri plays the role 
of a prima donna with tempestuous love- 
affairs. Several of the scenes introduce 
her singing "Carmen," and in this episode 
Muratore appears in the role of "Don 

8fi 



Stagg Photo 



Jose." The scenes of the opera are photo- 
graphed at the Century Theatre, and the 
"extras" were all professional players. 

FIVE other photoplays are to follow 
Marion Davies in "Cecilia of the Pink 
Roses," in accordance with her contract 
with Select. 

LOUISE HUFF received what was 
probably the first box of candy ever 
delivered by airplane mail service. It was 
sent from New York to Philadelphia by 
United States Air Mail Service, and from 
Philadelphia to Overbrook, Pa., by special 
delivery, reaching Miss Huff just a few 
hours after it had been packed in an up- 
town candy store. 

CONRAD NAGLE, one of the best 
known young leading men on the legiti- 
mate stage, has fallen for pictures at last. 
He will do "Laurie" in the William A. 
Brady production of "Little Women." 
Nagle, at the age of twenty-one, scored a 
remarkable success as "The Man Who 
Came Back," and is engaged for an impor- 
tant role in a next-season stage play. 



MAURICE FALLET, who upon an 
honorable discharge from the French 
army after being gassed at Verdun, came 
to this country and appeared in World 
Pictures, has felt the call of war again 
and enlisted with the Canadian army. Not 
only was Mr. Pallet gassed at Verdun, but 
he was wounded in other battles and re- 
ceived the Croix de Guerre for bravery 
under fire. He played with Kitty Gordon 
on the screen, and is but seventeen years 
old. 

TAYLOR HOLMES has signed a three- 
years' contract with Triangle. Mr. 
Holmes was to begin work at the Culver 
City studios at the termination of his 
present vaudeville contract (which has 
likely occurred by now). Lawrence Win- 
dom, director of Holmes' Essanay pro- 
ductions, will go to Triangle also. This i> 
the most interesting announcement to 
come from Triangle since the reorganiza- 
tion of this company. There are a number 
of other negotiations under way; H. E. 
Ait ken. as president, has new plans of 
which the Taylor Holmes contract is the 
first to be carried out. 




Mary Miles Minter is a real kid off the screen. She isn't really running away with this outfit, 

of course; she just coaxed the driver to let her have a ride. Yes — it's out on a farm — a 

farm, says Mary, devoted to war-time production. 



RUMOR has it that Eugene O'Brien, 
upon the completion of two more pic- 
tures with Norma Talmadge, is to have 
his very own company. 

POLLY MORAN claims Ben Turpin did 
such fast riding in his new picture that 
the wind straightened his eyes. Now 
they're wondering what can be the matter 
with Polly's eyes if she says Ben's are 
straight. 




The unfortunate gentleman who has con- 
tracted this visage d' ukulele was known, in 
natural life, as Charles Ray. If he breaks a 
string or two on the darned tiling he may 
come back and be Charles Ray again. 



HERBERT BRENON has started work 
on the picture he is making for the 
British Government. Hall Caine wrote 
the story and the Ministry of Information 
is superintending the production. 

T SEARLE DAWLEY. director for 
J* Paramount, was married recently to 
Miss Grace Given. Dawley has handled 
the megaphone for many Marguerite 
Clark productions. 



Plays and Players 

DORlb KEN VON is now a business 
woman as well as an actress. She 
has been elected treasurer of the organi- 
zation for which she makes pictures and 
hereafter all the checks signed by the 
president will be countersigned by her. 

THE official announcement that the 
British Board of Trade had issued an 
order prohibiting the importation to the 
United Kingdom of American films ex- 
cepting by special permission, has created 
no little excitement in the industry. As a 
result the government officials were visited 
by representatives of the large film con- 
cerns to see what could be done in the 
matter. George Creel, Chairman of the 
Committee on Public Information, stated 
to the manufacturers that the administra- 
tion was favorably disposed toward them 
and would take up the matter at once 
with the proper English authorities, in an 
endeavor to do everything possible to se- 
cure space on outgoing vessels for the 
shipment of films. Creel added that the 
necessity was realized of sending film to 
all the allied countries for the spreading 
broadcast of the United States' position 
in the war. 

HERBERT RAWLINSON. erstwhile 
Bluebird star, has signed a contract 
with Goldwyn and will make his first ap- 
pearance as Mabel Normand's leading 
man. 

FRED NIBLO. husband of Enid Ben- 
nett, made his first appearance on the 
screen supporting his wife in her new pic- 
ture. They said it was perfectly funny 
to watch them make the film — Miss Ben- 
nett insisted on Mr. Niblo sharing every 
close-up. 

AL JENNINGS, ex-bandit and former 
evangelist, is making a picture writ- 
ten around his own life. His brother 
Frank is in it too. It will*be a real west- 
ern, with enough hold-ups, girl-snatchings 
and rescuings. and moralizings to please 
everybody. W. S. Van Dyke, formerly of 
Essanay. is directing the picture. 

NEAL BURNS-, Universal actor, is npw 
at Camp Lewis in Washington, hav- 
ing enlisted two months prior to receiving 
his call for service. 



87 





Tnomas H. Ince with Mrs. Ince and their oldest son, Bill, on the beach at Catalina Island, off the 
shore of Southern California, where the Inces recently enjoyed a few days' vacation. 



Norman Kerry is up a tree. Is it concern- 
ing his reported engagement to Constance 
Talmadge? It must be; he is smiling! At 
this writing Mr. Kerry is in Hollywood. So 
is the palm-tree. 



I IEUT. EARLE METCALFE, for- 
■I— 1 merly of Lubin, who went abroad as 
a member of the 165th. was wounded in 
the right leg recently on his first trip over 
the top. The injury is not serious. 

EDNA GOODRICH returns to the 
screen in "The Gadabout" (Mutual) 
after an absence spent in rest on her Long 
Island estate. 

NIGEL BARRIE cheated the "Film 
Flying Corps" and joined the real 
one — he is an Air Pilot in the Royal Air 
Force at Camp Borden, Canada. Barrie 
was Marguerite Clark's leading man in the 
"Bab" series, the last of which was to 
have been "Bab's Aviation Corps," in 
which "Bab" marries "Carter Brooks" 
(Nigel Barrie), an aviator. But it was 
never produced, because Miss Clark had 
to complete the fairy-tale. "Seven Swans " 
before Christmas, and then Barrie left the 
company to go in for the big thing. Bar- 
rie tried to enlist in the L T nited States air 
service, and when he was rejected he 
joined the Royal Flying Corps, and is soon 
to receive his full commission. 

AT an important base hospital locat'on 
in France is a theatre famous as be- 
ing a replica on a small scale of the Taris 
opera hou^e. It has been taken over by 
the American Red Cross, under a lease 
for the period of the war, to be used as a 
moving picture theatre for the entertain- 
ment of convalescents and the hospital 
personnel. The films are for the most 
part of French production and the cap- 
tions are all in French. Even in Ameri- 
can plays the subtitles have been trans- 
lated. The Paris theatres charge about 
twenty-five to thirty-five cents for seats, 
generally two prices. And at that price 
it is said one hesitates to buy, as the show 
stops when the signal for an approaching 
air raid is given, and air raids are fre- 
quent in Paris. 



88 




Nigel Barrie cheated the film flying corps and 
joined the real one. Marguerite Clark's 
leading man in the " Bab " series, Barrie 
decided to be a real "Carter Brooks," so he 
enlisted. Now a pilot in the Royal Air 
Force, soon to receive his full commission. 

"XTAZIMOVA" is the name of a new 
1 ^ color which an American maker of 
dyes has adopted as tribute to the Rus- 
sian actress. The tint is of the deepest 
purple and gives the velvety appearance 
of a pansy to silk. And now girl ad- 
mirers of Nazimova will insist upon wear- 
ing the new shade whether it becomes 
them or not. 

TOM MOORE has only one idiosyn- 
crasy, according to Goldwyn's versa- 
tile press department. He is unusually 
careful about his voice. Though he has 
not been on the stage for years, and one 
wouldn't suppose his voice mattered in 
the movies, he has lozenges specially pre- 
pared for it. He uses many of them dur- 
ing the course of the day, claiming he 
cannot act even silently unless his voice 
is in good condition. Well, Tom can just 
have his lozenges. Who could deny a 
popular star a mere cough-drop? 

BOB WHITE, otherwise George Beban. 
Jr.. has an expensive hobby — for the 
other fellow. He collects neckties; and it 
doesn't make any difference who's wear- 
ing it — a film star or an ice man — if Bob 
fancies a certain necktie he gets it. 

WHEX a beautiful girl rushed up to 
Mary Miles Minter while she was 
doing Red Cross work in Los Angeles and 
told her how glad she was to meet her at 
last, Mary thanked her. There was a 
haunting familiarity about the stranger, 
however, and at the first opportunity 



Photoplay Magazine 

Mary asked if they had not met before. 
The stranger smiled and said, "I think 
not, my dear; but perhaps you have seen 
me in pictures. I am Fannie Ward." 
And Mary registered consternation while 
Miss Ward laughed. 

SL. ROTHAPFEL, manager of the 
• Rialto and Rivoli theatres in New 
York, is going to France to take motion 
pictures of the marine fighting there. Mr. 
Rothapfel is now a captain in the Marine 
Corps and has been placed in charge of 
making films to be used for recruiting 
purposes. 

SAN FRANCISCO has long been seek- 
ing a place in the motion picture pro- 
ducing field. Now Carl Anderson, for- 
merly president of Paralta, has interested 
S. F. capital in a new company, his plan 
including a new releasing and distribut- 
ing organization. 

WARNER OLAND, the high-brow vil- 
lain of Pathe serials, is now to be 
seen opposite Kitty Gordon for World. 

CLEO MADISON, after a year of inter- 
mittent vaudeville, comes back to the 
shadow stage in the sequel to "Tarzan of 
the Apes." 

IRENE CASTLE has volunteered to go 
to France to entertain our soldiers who 
are serving in the trenches. E. H. Soth- 
ern heads the list of theatrical leaders who 
have arranged for behind-the-lines thea- 
tres in France. When Mrs. Castle heard 
of the plan she eagerly offered her services 
and insisted upon paying the expenses of 
herself and assistants. There remain but 
a few Castle pictures to be released by 
Pathe. 



WALKER WHITESIDE is going to 
try it again. He will make another 
screen appearance as a Japanese secret 
service agent in a coming seven-reel pic- 
ture with the war for a background. 

""THE Motion Picture Women's Relief 
•I Society has been organized, to be 
affiliated with the Stage Women's Relief 
in carrying on work similar to that of the 
Red Cross. 

BURTON HOLMES has left for France 
with a staff of photographers to visual- 
ize for American picture audiences the 
social, economic, and industrial conditions 
among the noncombatants of the Allied 
nations. 

A SON was born this month to Mr. 
and Mrs. Albert Russell. Mrs. Rus- 
sell was known on the screen as Vola Vale. 

THE picture version of "Kismet," 
which Herbert Brenon was to have 
produced with Otis Skinner in his original 
role, has been called off. The supporting 
company engaged has been dissolved. 
Skinner is said to have received $5,000 
in advance royalty. Brenon is now in 
England, directing a photoplay for the 
British government. 



L 



EAH BAIRD is now a serial star — in 
sixteen episodes. 



HELEN HOLMES and J. P. McGowan 
have separated and both acknowledge 
a divorce suit is pending. McGowan is 
now directing a serial for Universal while 
Miss Holmes is in Sacramento working on 
a feature picture. They will not give fur- 
ther particulars. 




Frank Keenan made up as "Mathias" for "The Bells," from Henry Irving's famous stage 
play; and Ernest Warde, his director, watching the filming of scenes for the photoplay version. 



Plays and Players 



89 



HARRY HILLIARD is May Allison's 
new leading man. He was. you may 
or may not remember. Theda Bara's 
"Romeo" in "Romeo and Juliet." 

HELEN JEROME EDDY, our "Help- 
ful Helen." is now obliging at Univer- 
sal City, as leading woman for Monroe 
Salisbury. Miss Eddy's last Lasky ap- 
pearance was in Cecil de Mille's "Old 
Wives for New." 

HARRY XORTHRUP. who has the 
heavy role in Blanche Sweet's first 
new film, "The Hushed Hour.'' blames 
D. W. Griffith for his motion picture 
crimes. "He gave me my first bad part, 
eight years ago," says Xorthrup; "and 
surprising as it seems, I had not seen Mr. 
Griffith since that time. Then I met him 
upon his return from Europe and re- 
minded him of our first meeting. I've 
been playing villains ever since, and he's 
responsible. He certainly has a lot to 
answer for." 

DORIS KEXYOX has been made hon- 
orary sergeant of 122nd Company, 
70th Engineers, U. S. Coast Defenses, for 
actual work done for the Liberty Loan 
and the Red Cross. 

AXXA Q. XILSSOX is now a star in 
her own right. Metro has decided 
that her work in support of Bert Lytell 
has merited such promotion. Franklyn 
Farnum, formerly of Bluebird, will be 
Miss Xilsson's leading man. Guy Coombs, 
Anna's husband, has also been signed by 
Metro, to play opposite Viola Dana. 

WALLACE MacDOXALD of Tri- 
angle has left for New York, en 
route to Halifax, N. S., where he will 
enlist as a private in the Tenth Siege Bat- 
tery of the Royal Canadian Artillery, Fort 
Cambridge, X. S. He expects to be Over 
There some time in October. 

LOUIS BULL MOXTAXA, actor, boxer, 
wrestler, has left for Camp Lewis 
where he will become a member of the 
National Army. Douglas Fairbanks, with 
whom Bull has played, presented him with 
a wrist-watch prior to his departure. 




I ' a is-Smith 
Taylor Holmes is another actor who refuses to be in the Agonized Archibald class, and who dem- 
onstrates the fact by being photographed with his family. Mrs. Holmes is well known on the 
stage and screen as Edna Phillips Holmes; Taylor's son and heir to cheerfulness at the right is 
Phillips. Then there's Madeline, at the left; and "the baby," whose name, we believe, is Bill. 
Mr. Holmes is soon to be seen in Triangle pictures. 



TAMES MOXTGOMERY FLAGG, the 
J artist, whose "Girls You Know'-' series 
was well received, will provide comedies 
for Famous Players-Lasky in the future. 
The theme of this series will be "Sweet- 
hearts and Wives," written by Mr. Flagg. 

THE Children's Year Campaign Com- 
mittee of the Council of National De- 
fense invited Mabel Xormand to appear 




It's a crool blow, but the Edwin Booth of the screen, when he's not working in California, 

is busy in his garden picking radishes. The Walthall family owns a ranch near Phoenix, 

at Scottsdale, Arizona, and here are shown Henry and his brother John gathering the fruits 

of the soil. But at that Henry doesn't look out of character. 



in person at the Washington theatre where 
her picture, "Joan of Plattsburg," was 
shown in aid of the cause. Mrs. Wilson, 
wife of the President, requested that Miss 
Xormand be brought to her box, where 
she told the actress how much she had 
always liked her work. "And now, since 
I have seen you," said the First Lady, "I 
love the real Mabel Xormand even more." 

AT a giant mass meeting at Clune's 
Auditorium in L. A. for the forma- ' 
tion of the Motion Picture War Service 
Association, D. W. Griffith on one side of 
the stage and Wm. D. Taylor on the 
other loudly cheered Mary Pickford, when 
she purchased D. W. Griffith's member- 
ship card in the Association for $2,500. 
Mary looked at the directors and then 
said to the audience, "That's going some: 
my first and my last director both cheer- 
ing me." 

FREDDIE GOODWIXS is now leading 
man for Mildred Harris. Goodwins, 
by the way, is not in the service as re- 
ported, although he tried three times to 
get in. He has his certificate of tempo- 
rary rejection to prove it, and says that 
it is evidence of the sole reason why the 
statement of his enlistment was inaccurate 
at all. Goodwins played in "Amarilly of 
Clothesline Alley" and "Mr. Fix-It." and 
was formerly a member of the Charlie 
Chaplin company. 

(Continued on pn^r 104) 



The Five Funniest Things 




A director who can produce a laugh'getter need 
not thin\ he will escape the income tax. And here 
is revealed the secret of successful screen comedy. 



A cohesion of dignity- and 
water never fails to arouse 
hilarity. Sometimes you 
see it in the form of a bath 
room so flooded that the 
occupant uses the tub as a 
row-boat. 



Audiences are always amused 
by something that is antici- 
pated. (Lower right). The audi- 
ence always feels sure that in 
another moment the powder 
will blow the victim four ways 
from the post office. 



for in motion pictures there 
profitable as laughter. A 



UNKNOWN to the 
world at large and 
faithfully guarded 
by motion picture 
comedy directors, is a list of 
five things guaranteed to 
make people laugh. Comedy 
directors have built them- 
selves conservatories and 
joined yacht clubs by reason 
of their knowledge of this list 
is nothing so commercially 

director who can manage a laugh, or an actor who can 
inspire cachinnatory approval, need not concern himself 
about the sugar situation. He can go ahead and make 
plans for his seashore drive. 

The funniest thing in the world is for one person to hit 
another with a pie. Crude as this may sound it has made 
more people laugh than any other situation in motion pic- 
tures. It was first discovered twelve years ago and has 
been a constant expedient ever since without, so far as can 
be discovered, any diminution of appreciation. It has 
made millions laugh and tonight will make a hundred 
thousand more voice their appreciation in laryngeal out- 
bursts. It is the one situation that can always be depended 
on. Other comic situations may fail, may lapse by the 
way, but the picture of a person placing a pie fairly and 
squarely on the unsuspecting face of another never fails to 
arouse an audience's risibilities. But the situation has to 
be led up to craftily. You can not open a scene with one 
person seizing a pie and hurling it into the face of an unsus- 
pecting party and expect the audience to rise to the occa- 
sion; the scene has to be prepared for. There must be a 
plausible explanation of why one person should find it para- 

90 




in the World 



By Homer Croy 



mount to hurl a pie into another's face. He must 
have been set on by the other — preferably by 
somebody larger than himself — and then sud- 
denly the worm turns and sends the pie with 
unerring accuracy into the face of the astonished 
aggressor. To this an audience never fails to 
respond. 

The second funniest thing in the world is for 

a waiter to fall down stairs with a tray of dishes. 

Over and over the situation has been worked and 

yet it never grows old. Sometimes he is craning 

• his neck to see a pretty 

^ft|^^ girl and lands at the 

newel post; sometimes 

K it is because he has 

m been out the night be 



fore and is too sleepy 



Ascene that can always 
be counted on to make 
audience laugh is 
for a man to 




92 



Photoplay Magazine 



to have the necessary care; sometimes he is being pursued 
by his wife and in his eagerness to get away makes a mis- 
step that ends calamitously. The pretenses and improvisa- 
tions for the contretemps are legion, but the scene never 
fails to get a response. Sometimes a reverse twist is given 
by having the waiter stumble and the diners scurry to 
escape the threatening crockery, but with the dishes never 
quite falling. The reverse of the situation is just as humor- 
ous as the scene's accepted version. 

In experimenting with the sense of humor it was discov- 
ered that there was something irresistibly amusing in seeing 
some one fall into water. Particularly amusing it was 
found by comedy directors to see a dignified, silk-hatted 
individual going along and then to have him meet with an 
unfortuitous catastrophe such as stopping on a bridge to 
lean against the banister to admire the graceful swans and 
then to have the banister give quickly and unexpectedly 




The funniest thing in the world is for one person to hit another with a pie. Crude 
as it may seem, it has made more people laugh than any other situation in pictures. 



away. Knowing well that a fall of six or eight feet into 
water would not hurt him, audiences gave themselves up to 
the full enjoyment of the situation. 

Every day of the year this scene in different guises is 
given to theatre audiences and it never fails to arouse a 
pleasant sense of anticipation. Sometimes it may be that 
a bathroom is so flooded that the comedy occupant finds it 
necessary to make of the tub a temporary rowboat with a 
long handled bath brush pressed into service as an oar. 
Sometimes Mary Pickford uses it in comedy more refined 
when she gathers up mud and hurls it at some person who 



has aroused her disapproval. Whether played as burlesque 
or as high comedy, a water scene rarely ever fails to arouse 
appreciation. 

Audiences are always amused by two things: by some- 
thing unexpected and by something anticipated. A waiter 
takes a piece of pie and, standing behind a swinging door, 
waits to reek revenge on a fellow waiter when the door 
opens and instead of the other waiter in comes the manager 
of the restaurant. The manager gets the pie. The scene 
never fails to arouse the desired laughter; it succeeds by 
reason of its element of surprise. On the other hand the 
element of anticipation is just as strong and is made use 
of almost wholly in situations employing explosives. A set 
is erected with a number of bottles labeled "nitro-glycerine" 
or "dynamite" and an actor comes in in comedy make-up 
and begins to smoke. Throwing his match aside it sets 
fire to a fuse. The fuse begins to splutter while he smokes 
on unmindful. On such an occasion an 
audience never fails to give vent to its sense 
of the incongruous. If Tt should stop to 
reason that real explosives were not being 
used and that in reality the labeled bottles 
were empty, it would see the evident pre- 
tenses of the scene; but it never does. It 
always feels sure that in another moment 
the powder will blow the innocent person 
four ways from the post office and as a 
result pounds its palms in approval. 

The fifth scene that can always be 
counted on to make an audience laugh is 
for a man to assume a woman's clothes. If 
the man happens to be stout all the better 
and if he should happen to so manipulate 
his skirts as to show a flash of underwear 
still better. But strange as it may seem 
the placing of a woman in man's apparel is 
not funny. Many directors staked their 
pictures and their reputations on this reverse 
to find that an audience will not laugh at a 
woman in overalls. If she is the possessor 
of a pretty face they will think her cute, but 
never funny. Nor must she stay too long 
in overalls. If she does her. appeal is gone 
and the scene is lost. Just a flash and then 
back to more conventional attire. 
On these five, fortunes have been made and lost. Di- 
rectors who are hired to produce laughs have tried to put 
out films in which none of the scenes appeared — and when 
their efforts were shown in the picture company's private 
projection room the directors have been handed their con- 
tracts and their hats with a prayer on part of the managers 
that the men would be employed by their competitors. 
The scenes have been blacklisted and yet when the direc- 
tors have tried every other situation wherein a laugh might 
be aroused they have come thankfully back to the funny 
five. 



SPEAKING of beauty and brains combined, have you 
heard of this beauteous young person, Frances Marion, 
who rattles the typewriter to the tune of $10,000 a year 
while still finding time to doll herself up in Paris plumage 
that stirs most of the femininity of picturedom to frenzies 
of envy? Earning $10,000 a year would make a frump of 
almost any woman. But not Frances Marion! Her 
clothes, as Mary Pickford, for whom Miss Marion writes 
scenarios, expressed it, "are simply, gorgeously — speed!" 

Just the other day Miss Marion was summoned to appear 
before a stern court to explain the whys and wherefores 
incident to her bowling her big roadster along at a mere 
forty-seven miles an hour. 

When she stepped up and faced him, the judge tried 



Oh, Learned Judge ! 



valiantly to mix sternness and reproof with a gaze that was 
inclined to be admiring. 

"Young lady," he asked, "why was it necessary for you 
to go ripping through traffic on Hollywood Boulevard at 
this unholy rate?" 

"Judge," answered Miss Marion with deep seriousness, 
"I was late for an appointment to try on a perfectly 
exquisite new evening gown, and — there were four flivvers 
and a truck and a Chinese peddler's wagon ahead of me. 
I just simply had to get around them. Your Honor." 

The judge tried to hem and haw away a smile that began 
to flicker around his lips. The smile grew into a grin. 

"You may go this time," he said. "Er — h'm — err— I 
drive a car myself, and I am afraid I understand." 



A Blue-Ribbon Baby 



Referring, of course, to the Roy 
Stewart of some years bac\ 



Adela Rogers St. Johns 




WHEN a man can look you calmly 
in the eye and tell you that the hap- 
piest moment of his life was when he 
saw the cactus looming up out of the 
desert on his return home after his first journey in 
far countries, you can make up your mind that man 
is a dyed-in-the-world Westerner. None but a West 
erner loves cactus. 

"I'd been taking my first look at the north- 
ern country," remarked Roy Stewart, the 
Triangle western star, dusting his high boots 
with the brim of the wide hat he had removed, 
"and I reckon I hadn't seen any cactus in 
quite a spell. When I looked out of that 
Pullman car window and saw a great, bi 
ugly old fellow reaching out his prickly 
arms to me, my heart swelled right up in- 
side me, 'cause I knew I was home." 

There is no camouflage about Roy 
Stewart's westernism. He doesn't don 
his character with his chaps and spurs 
He doesn't have to fake atmosphere, 
manner, ability or knowledge. 

Roy Stewart is the first western 
star of the moving pictures who is 
really of the West. 

So when you see Stewart riding 
bronchoes, rounding up cattle, 
looking over five cards or getting 
familiar with a six-shooter, you may settle back in your 
seat with the comfortable assurance that he is on his native 
heath, doing the things he's been doing ever since he won 
the first western baby show down in San Diego a few — 
well, some — years ago, and that at last you're gazing at a 
real western hero. 

"I've never been interviewed before," Stewart stated in 
that cool, impersonal way of his, "except once. That was 
when they had me in jail down in Mexico. 

"Oh, it didn't just happen," he went on hurriedly. "They 
did it on purpose, all right. Just didn't know what else 




Roy Stewart is 

the first western 

„ of moving pictures who is 

really of the West. He's been 

riding bronchoes and getting 

familiar with a six-shooter ever 

since he won the first western 

baby show down 

in San Diego 

some years ago 



\ 




to do with me, I reckon. You see, ma'am" (a war cor- 
respondent who spent a week with the royal family at 
Windsor once told me that the Prince of Wales always 
addresses Her Majesty as "ma'am." After hearing Roy 
Stewart use the term I can imagine it very appropriate) — • 
"I owned the El Tully ranch and a nice little bunch of 
cattle down in Mexico under Diaz. But when the show 
opened up down there and Madero came in, they did a lot 
of things to me. 1 got out with all members intact, but I 
didn't have even a Mexican dollar sticking to me. That's 
when I decided to go into moving pictures." 

93 



94 



Photoplay Magazine 



"When did you first learn to shoot and 
ride?" I asked. 

He looked at me in be- 
wilderment. ''Gee, I 
don't know." He 
shoved the nose of his 
inquisitive pony out 
of the pocket of his 
coat. "Hey, you 




Riding a goat pro- 
duces thorough accli- 
mation to any other 
v e h i c le. Therefore 
Roy Stewart — who 
first rode on a goat — 
has " Sunshine," his 
favorite mount, thor- 
oughly cowed. 




Sunshine, 
you keep out 
of there. That 
horse does love sugar,' 
he confided. Then 
returning to my ques- 
tion, '"I suppose 1 
rode about the 
same time I 
walked. I don't 
seem to remember 
ever learning, but I 
always could ride. 
About the first 
thing I remember 
riding, though, was 
a goat. Yes, ma'am, 
a goat. That was 
down in San Diego. 
We kids used to have goat races round the 
little wooden court house and dad and the other men 
would come to the windows and bet on us. 

"My father, you know, was the second white man in 
San Diego. He was the first sheriff of Hangtown, too. It 
took a pretty good man to be sheriff of that burg, in those 
days, because Hangtown sort of prided herself on making 
Bowdie look like a Sunday school picnic. It took a real, 
live, he-man to be sheriff, you know. 

"Dad was a pioneer — the real thing. He came to Cali- 
fornia in '50, on shoe leather, with "Bonanza" Johnson, 
after fighting Indians all the way out from Kansas City. 
He helped to make California history. Father taught me 
to shoot. He could shoot some himself, father could. 
They tell me that he was about a sixteenth of a second 
faster with his gun than any other man in Hangtown. 
Reckon that's why they made him sheriff." 




Roy Stewart, with Jack Gilbert in the Triangle picture, "The Devil Dodger. 



"He taught me to shoot, 

and he told me why. 'If you 

ever want to tell a guy to go to 

- " B hell, live so you can do it,' he said. 

But he may not like it so you'd better 

learn to shoot a little, too.' " 

I interrupted him to ask a question and he favored me 
with a cool stare. "Oh, I went to the University of Cali- 
fornia. An education's a good thing, no matter what a man 
means to do. 

"Yes, I learned a lot on that ranch. For one thing I 
learned that I wasn't the best poker player in the world. 
That's a good thing to learn, right off. O'Neill took my 
clothes away from me one day — and that's no mere figure 
of speech, either. I had to earn 'em back hoeing corn. We're 
going up there to do my next picture, 'The Fighting 
Gringo,' — the one I wrote myself, you know. 

"The pioneer blood is in me, too. I don't know what I 
would have done if it hadn't been for moving pictures. I 
love to be outdoors." 

He's a very modest person, this Roy Stewart. Yet, 
somehow, I gathered the impression 
of a self-respecting appreciation of 
himself — a sort of "when you call 
me that, smile" expression that 
spoke hands off to many things. 

I mentioned the Baby Show. 
(Some one had told on him.) The 
whole, supple, graceful six-feet-two 
of him drooped with embarrass- 
ment. 

"Who told you about that?" he 
demanded wrathfully. "Oh, yes I 
won the gold cup, but I always 
figured it was because I had an 
Indian nurse maid and the contrast 
was so great it fooled the judges." 
But then our talk was over. 
From across the sunny hill of the 
beautiful Triangle ranch. Cliff 
Smith, his director, called to Roy. 
And as he walked away, I no- 
ticed that the hand free of his 
bridle reins was busy rolling a 
pisano cigarette. Just as though I 
would have objected! 

After all, east or west, a gentle- 
man is always a man. 




May Allison 
Is Back! 



She cherished primadonna aspirations 
but the war caused their postponement 
— and her return to the screen 



By Marjorie Manners 



This was May Allison's statement 
of her aims. When reminded of the 
occurrence the other day, Miss Al- 
lison said: 

"It never entered my head that I 
might be considered conceited. I 
didn't feel that way at all. I merely 
had a great ignorance of all the diffi- 
culties that beset the road to stardom 
— and a superb faith. I felt also that 
if I could not be a star in five years— 
an age to me then — I had better 
give up. 
"Recently, I received the dearest 
note from a girl who stood in the wings 
with me that evening. She is married 
now, lives in Freeport, Long Island, and 
has a couple of babies. 
"She asked me if I remembered that first 
evening, and said she couldn't resist writing 
to remind me of it and to congratulate me." 
May Allison is now an individual picture 
star, in the Metro firmament, and I think that 
note pleased her more 
than anything she has 
received since 



DRESSED in the garb of Vanity, a 
tall, slender girl of coltish age, with 
hair the color of molten gold, stood 
behind the scenes at the opening per- 
formance of Henry Savage's produc- 
tion of "Everywoman." ^ff-. 

As the scene shifters scurried 
about and the other members of 
the cast nervously conned their 
lines, or listened assidu- 
ously to catch the verdict 
of the tense audience out in 
front as to whether "Every- 
woman" was to be a first 
night hit or failure, this girl 
stood merely at attention. 

With a superb uncon- 
sciousness of the implica- 
tion of egotism, she re- 
marked calmly, but in the 
tone of one stating an in- 
contestable fact — 

"I shall be a sta*- in five 
years or I shall leave the 
stage." 



May Allison hold- 
ing the professional 
I-am-listening atti 
tude while Director 
Harry Franklin de- 
scribes some action 
for "The Winning 
of Beatrice." 
Standing, with left 
hand on his pocket 
book, is Hale 
Hamilton. 




95 



96 



Photoplay Magazine 



nouncement of her "come back" as a picture star. 

Miss Allison has three sisters and two brothers who are 
all married and have kiddies, and none of them ever had 
the slightest wish for public life, but from the time she 
was "knee high to a duck," May, or "Sunny," was lured 
by the footlights— desired to be a great singer. The Alli- 
sons lived on a huge plantation in the Southern part of 
Georgia, miles away from the nearest house. May had 
never seen a show, didn't even know what a theatre was 
really like, but she used to skip away to the southern part 
of the plantation where there was a forest of age-old trees, 
and there she used to throw back her sunny-topped head, 
expand her little chest, and sing her heart out. 

She grew tall so suddenly that she was what you might 
call skinny. At that time of her existence, May's legs 
were her special grievance. Her brother soon found out 
how he could tease her and used to delight in calling her 
"Spindles" and other equally appropriate names. Once 
May had the courage to retort. "I've got a nice 
ankle anyway, so there" — only to 
be stampeded by his reply, 



We've said that May 
Allison is from the 
South — therefore it 
ought to go without 
saying that she loves 
to cook, can cook and 
does cook. 





"Humph, yes — but who wants a leg that's all ankle?" 
Somehow the family never realized what a strong will 
"Sunny" had until after the father's death and the sisters 
and brothers were all safely settled in homes of their own. 
Then she demanded that her mother cash in all their re- 
sources and take her to New York to seek an engagement 
on the stage. At that time, she still cherished visions of a 
primadonna future — a vision which has never left her lovely 
little head. 

Nevertheless, after a few trips to the various theatrical 
agencies, she was perfectly willing to accept the part of 
Vanity in "Everywoman." 

The following season, Miss Allison joined Ina Claire in 
"The Quaker Girl" and became her understudy. Then she 
played the ingenue in "Miss Caprice," in which DeWolf 
Hopper was starred. 

When there came a bad season for the stage after she 
had briefly starred in "Apartment 12-K" at the Maxine 
Elliott Theatre, New York, Miss Allison took a part in 
the screen production of "David Harum," made by Famous 
Players. Next she appeared with Edith Wynne Mathew- 
son, in "The Governor's Lady" and 
became a full-fledged screen star 
with American-Mutual in "The 
House of a Thousand Candles." 
She then met Harold Lockwood 
and you all know about her co- 
starring with him for Metro. 

But there was still that 
primadonna vision in the back 
of Miss Allison's head, and 
when she had amassed a pretty 
it tie fortune, she announced 
to her valiant little 
mother, who is her con- 
stant companion, "I am 
going to leave the 
screen and go back to 
9 New York and have 
pi my voice trained in 
wk earnest ! " 

And so forvery 
\^\ nearly eight months, 
I "Sunny" was away 
from t h e 1 a n d of 
fjk shadows. She and 
^^^ her mother took a 
cosy little apartment in 
New York and she studied 
vocal under Oscar Sanger 
at a mere detail of $25 
per 30 minutes — a n d 
i just about the time that 
her ambition was about 
» to be realized in a 
London musical pro- 
duction, the war had 
to spoil everything. 
But not for us — 
For May Allison 
;K has come back to 
|B the silver sheet. 
tfi And her return is 
but an instance of 
H her character — a 
manner of ever 
aiming for the 
topmost rung and, 
if anything clogs 
her footsteps, of 
kicking it aside, 
or finding an- 
other path. 



Mrs. Mills' Many Husbands 

Diversified as they are, they have one quaaty in common: they are all Fran\ 

By Dorothy Scott 




H 



USBAND" is a generic term which includes all sorts 
and conditions of men. There is the fireside hus- 
band, the wild and roving husband, the husband 
who is a "good provider," the husband temperamental, the 
husband phlegmatic, and assorted lots of just ordinary 
husbands who may be relied upon to remain true to type. 

Frank Mills has played them all. 

We were discussing his screen experiences over the tea- 
cups in his up-town apartment in New York. Mrs. Mills 
had stayed just long enough to say "Cream or lemon?'' and 
then had departed, obviously amused at the turn the conver- 
sation had taken. 

"It never occurred to me before that I had developed 
into a professional screen husband." said Mr. Mills. "But, 
now that I think of it, I can't remember playing anything 
else on the screen. Apparently the casting director places 
me in the domestic angle of the eternal triangle instinctively 
and as a matter of course." 

"Do you like that sort of character?" I asked, with the 
certainty that he would not. That certainly comes from 



familiarity with ingenues who want to be sirens, juveniles 
who long to play heavy villains, and typical vampires who 
insist upon being cast as sweet young things. 

To my surprise, he replied that he did. He has no yearn- 
ing to play the dashing cavalier or the bachelor man- 
about-town. Perhaps it is because he plays his characters 
first as human beings without regard for any condition of 
servitude. He likes any role, he told me, that can be 
expressed with dignity and restraint. If a scene cannot 
be put over without exaggeration he believes that it is 
not worth working in at all. 

"I have learned to face every variety of domestic 
catastrophe without wriggling my eyebrows," he assured 
me. 

He has held to these theories ever since he was a 
stagestruck little boy in Kalamazoo, Michigan. From 
the very first, he wanted to go on the stage. His 
earliest recollections are of an elaborate "show" 
which he staged in a barn with bent pins for tickets. 
He was forced to close by a father with an unrea- 
sonable prejudice against the proximity of the can-, 
die foot-lights to the hay. From childhood's barn- 
yard "stage" he soared to usherdom, and from 
usherdom to the "super" status. Thence, his flight 
up was rapid and in a surprisingly short time he 
found himself engaged for Belasco and Frohman 
productions in the old Lyceum Stock Company in 
H New York. He married Miss Helen Macbeth, who 

.was then in the romantic position of "the girl from 
IE home," and a non-professional who blossomed out 
into a talented actress. 

After a season in London, Mr. Mills returned 
to New York and found a great change in the pub- 
lic's attitude toward 
" I have learned to race 
every variety of domestic 
catastrophe without wrig- 
gling my eyebrows," declares 
Mr. Mills, shown at left with 
Norma Talmadge in a scene 
from " De Luxe Annie." 
Below — Mrs. Mills. 



moving pictures. They 
failed to interest him 
personally, however, un- 
til the enthusiasm o f 
James Young persuaded 
him to have screen tests 
made. 




y? 




Without Benefit 
of Custard 



Juanita Hansen has proven 
that a beautiful face is not 
always to be thrown at. 






Juanita has done her bit in comedy, 
has done it gracefully and graciously, 
she has graduated. She is now a star 



NEVER again will the Cas- 
tillion-Xorse features of 
Juanita Hansen, erstwhile 
baby doll and exhibit A of 
exotic screen atmosphere, stop a custard 
pie. It might — if she stumbles onto the 
comedy set by mistake; but not on the di 
rector's orders. 

For Juanita is through with sandbag comedy. It 
might have been influenced by the elimination of pastry 
flour; we doubt it. The truth is more likely hovering 
around the theory that the Destiny supposed to jerk 
more or less of our fate-strings discovered one of them 
had become tangled — one belonging to Juanita. Not 
that she wasn't interesting in the pastric, but because 
she is more so in the more austere. 

Juanita has done her bit in the gay comedy. She 
has done it graciously and gracefully. But she has 
graduated. The screen chorus is behind her. She is 
now a star. 

It all came about in a rather odd way, too. One of 
the most serious minded men in the motion picture \ 
business who cannot be induced to laugh at Charlie * 
Chaplin or thrill at a serial, saw Juanita on the screen in 
the projection room at Universal City. The production 
was a Lyons-Moran burlesque in which Miss Hansen took 
the role of a highly colored Carmen with the accent on the 
men. 

"That tough girl can act like a house afire and she looks 
like a million dollars," said he. "Sign her up. I'll make a 
dramatic star out of her." 

Miss Hansen had just come to Universal City. No one there 
knew much about her but she was signed up, tried out, and 
finally put into "The Brass Bullet," which started to shoot 
August 5th. With every episode interest in Juanita 
grew, until in the fifth Mr. Laemmle wired to the 
Coast to look out for several big dramatic 
stories in which to feature her as a star after 
the serial was finished. She will be added to 
the list of special stars and her releases will 
be known as Juanita Hansen Special Attractions. 

Seldom has it happened that an actress' name is 
so indicative of character and ancestry as is that of 
Juanita Hansen. For this newest of Universal 



stars is a Spanish Viking. 
She can trace her forbears to 
the haughty seniorifas of old 
Castile, and the fiery old Norse 
pirates with the same authority 
that her mirror reflects thes? 
strains of blood in her striking 
features. A futurist would describe 
this rare combination as "burning 
ice." But while Juanita is all this 
when she wants to be she is as yet 
untouched by that most fatal and 
unaccountablje of theatrical dis- 
eases known as Staritis. When a 
number of lovely ladies of Uni- 
versal City rushed forth to grab 
a cup in the annual bathing suit 
carnival at Los Angeles there was 
no dissenting voice in the award- 
ing of the cup to her. Her unique 
creation with its crowning talis- 
man of a brass bullet fastened to 
the cap contributed. 




Miss Hansen 
Los Angeles; 



won the cup in the annual bathing suit carnival in 
the vote was unanimous. We do not wonder why. 



The Family 

Name Is 

Blythe 



Betty Blythe's determination 
to stop at nothing short of 
perfection is the most promis- 
ing characteristic of the con- 
vent-bred girl who scored a 
hit in Empey's screen version 
of "Over the Top." 




CAME to New York 
with one hundred dol- 
lars in my purse, a 
heart full of ambi- 
tion and fire in my eye. It 
didn't take me long to find 
out that only one of the 
three things were of any 
real help. The money and 
fiery eyes could have been 
left at home for all the real 
assistance they were to me." 

Thus Betty Blythe tersely 
explains her rapid rise as a 
screen star. With all deference to 
her modesty, we must remind her 
that it takes more than a "heart full 
of ambition" to spring into success as 
she has. One needs an abundance of cour- 
age, perseverance and above everything common 
sense enough to realize that you do not need it all. Added 
to this, an unusual screen personality and versatile talent 
and her success is accounted for in more detail. Even 
this is only half: to understand it fully, you must see Miss 
Blythe yourself. 

When she landed in New York from the convent, she 
was so awed by the crowds that she would not leave her 
hotel for three days. As soon as she gathered courage 
enough to look for a job. she found one at once as "Slan- 
der" in George Hobart's morality drama "Experience." 



It was her 
work in this play that 
brought her to the at- 
tention of the Vita- 
graph Company. She 
was cast as a sweet 
young thing in "A Game 
With Fate" and a heartless 
cruel butterfly in "Tangled 
Lives" and, while the roles 
were not leads, she made them 
so distinctive that she was in- 
stantly recognized as a "find." 
But it was in "Over the Top" that Betty 
Biythe really became universally known to film fans. Her 
work as "Madame Arnot" in this production stood 
out so vividly that she was at once established as a 
star. 

All this, however, she considers only the beginning. The 
longer she stays in the work, the more she feels that there 
is to learn. This insatiable desire for knowledge with the 
determination to stop at nothing short of perfection, is the 
most promising characteristic about this most promising of 
the newer stars. Not to forget the "heart full of ambition." 



IOO 




«^ 



Photoplay Magazine 

Stars of the Screen 

and >^ 

Their Stars in the Sky 

By Ellen Woods 



Nativity of 

Richard Barthelmess, 

Born May 8th. 



I TE R E we have a 



JH , A A twice-born actor, as 

^L his nativity indicates that 

■k this rebirth is the carma 

ft K^fc« o1 ^ ^ e P ast b' rt ' 1 ' w hich 

55% fc^ will bring him quite a 

■l <• &•> deal of criticism and 

I Bf some scandal and if he 

does not deserve it now, 
he is supposed not to 
have gotten his just dues until this life. This man can play- 
almost any part; but he would be better in two types of char- 
acters, like a lawyer and a refined crook. He is lovable, good 
natured when he has his own way, and is very patient and per- 
severing to accomplish his ends. He has excellent judgment 
on everything but socialism and religion. He should never 
argue about either. He will be a good husband and be very 
happy in marriage. He should stay in the country of his birth, 
as there is danger of being held in bondage if he would even 
step over the border of Mexico or Canada. He should use 
caution when on water, especially the Great Lakes. This man 
has a strong constitution, but must not take intoxicating drink 
or it will melt the body, like fire to ice. In 1921 he will take 
many journeys, one of which will bring him quite a fortune, 
but the best good financial luck will come to him in ig27 and 
will last until 1050. He should never invest money in hotels 
or summer resorts but should always be on salary. 




Nativity of 

Miss Dorothy Gish, 

Born March nth. 

AT the hour of this 
young lady's birth, 
the Zodiacal sign Scorpio 
was rising, and with 
Mars the lord thereof lo- 
cated in the humane sign 
Aquarius. She has all of 
her planets located in 
signs of human form, ex- 
cept Pices and Scorpio, 
and both of these are philanthropic. Humane signs are supposed 
to give a nature that is sympathetic, and gentle, forgiving the 
worst wrongs. From my judgment of this nativity, I would 
say that Miss Gish would not make a good vampire, nor could 
she play other than where she could fight for honor and justice 
lor others. Justice and equality is her motto. She would 
beggar herself for others, if she came across distress. She has 
great love and even veneration for little children. Miss Gish 
believes in freedom of speech, actions, and religions. She would 
be an excellent Judge of Courts. Miss Dorothy has many 
iriends, in fact I do not think she has anything but friends. 
Her husband will hold some very high position on an advisory 
board, and he will be as gentle and humane as herself. She 
will make a long journey by water every 18 years, and will 
be traveling by land once in every two years all during her 
life. Therefore, I would not advise her to invest much money 
in a home or furnishing, other than could be put in a trunk. 



FROM THE AUDIENCE 



Editor Photoplay, Chicago, III. 

Dear Sir: From Boone, Iowa, comes 
the plaintive wail that certain screen 
celebrities, viz., Farnum, Hart, Ray, Fair- 
banks, etc., are no longer seen there in 
their later triumphs. In your July num- 
ber of Photoplay, you call the attention 
of the "Motion Picture Producer" to this 
state of affairs; is the fault perhaps with 
the local managers? 

We are permitted to see each month, 
not only the screen celebrities, but we see 
them in their FIRST RUN features and 
we hail from a town much smaller than 
Boone (Algona has about 3,500). Our 
manager, N. C. Rice, has studied the de- 
mands of the people as few other moving 
picture managers have done; he has been 
satisfied only with the best and insisted 
that producers and picture agencies live 
up to their agreements; he has been a 
tireless advertiser, both newspaper and 
bill-board and direct mail; he has con- 
stantly improved his place of amusement 
just as any up-to-date business is forced 
to in these days of competition; he has 
secured at great expense, the services of 
an exceptional pianist, who plays every 
inch of the films in a masterly way; in 
short, he has put energy and push into his 
business and it has won out. 

In these days of rising costs, it is as 



unjust to blame the producers for raising 
the price of their product as to blame the 
wholesaler for the high cost of merchan- 
dise. The local manager as well as the 
retailer, must raise the price of his goods 
accordingly. And if the product is worth 
the money, people will pay for it. Again, 
it is "up to the local manager;" to get the 
best, advertise it as such, present it in a 
pleasing manner with appropriate music 
and the patrons will pay the price. These 
are my personal views on the subject; 
let's hear from others. 
Respectfully, 

T. H. Chrischilles. 
Algona, Iowa. 

* * * * 
The Editor, Photoplay Magazine, Chi- 
cago, U.S.A. 

Dear Sirs: Some months ago I was 
bold enough to send you a few lines for 
your "Why do they do it" page but up to 
the present have not seen them in print. 
Perhaps the effort was not worthy of pub- 
lication or perhaps coming from such an 
insignificant place as Brisbane it was at 
once relegated to the W. P. B. 

Well, Mr. Editor, I want to tell you 
that Brisbane is not such a village as 
some people imagine (even in Australia). 
The population of the city is 173.000 and 



the city proper has half a dozen continu- 
ous picture shows. (We call them "pic- 
tures" over here, not "movies.") In the 
suburbs most of the shows are in the open 
air and they are legion. In Brisbane you 
can sit and look at pictures for nine 
months in the year with only the stars 
for a roof. 

Don't think from that, that Brisbane is 
a "Hades" of a place. We are not within 
the tropics although perhaps we may have 
a few warm days during the summer. 
The climate taken all round may be de- 
scribed as delightful. In Brisbane we 
have the finest theatre in the common- 
wealth (the Tivoli) 

"Bill" Hart is a great favorite here and 
you can always depend on a full house 
day and night when he appears. As a 
matter of fact I don't think there is ever 
empty houses no matter who is starring. 
The people in this place I'll gamble are 
as enthusiastic over pictures as in any 
other place you can mention. 

I look forward with pleasure to its 
coming each month. Of course I've read 
the others but after consideration I've 
decided to stick to "Photoplay." Apolo- 
gizing if I have taken too much time. I 
am. yours faithfully, 

Dick Butler. 

Sussex St., Sth. Brisbane, Australia. 



^to&h 



MO^QuiToeS wo 
DtftectoAS 

oT/fT 




Bessie caught this 
fish all by herself. 
It isn't a "prop- 
erty" fish. Her 
studio had nothing 
to do with it, for 
who ever heard of 
a director permit- 
ting fish to hog 
the camera? 






A Real Vacation! 



A FTER all, there is much in the life of a motion picture 
•*»■ actress that isn't real. There are mock love affairs, mock 
weddings and even mock vacations. And perhaps that was 
why Bessie Love derived so much real pleasure out of her 
outing this summer. Hers was a REAL vacation. We'd hate 
to imagine what would have happened to any studio folk had 
they stumbled into camp. It was at Catalina Island where 
Bessie and her mother and father vacationed. And at five 
o'clock each morning Bessie was up — posing while Dad 
snapped pictures evidencing her prowess with the rod. 



102 



to reform the son of her boss and marry 
him. Mabel manages to carry the plot 
with her irresistible comedy, but whenever 
she leaves it, it drags interminably. 

THE HEART OF A GIRL— World 

"The Heart of a Girl" is the first World 
picture to feature Barbara Castleton and 
Irving Cummings. It tells a story of love 
and politics in which a girl first wrecks 
and then rescues her lover's campaign in 
Congress. The plot has just enough ma- 
terial to show the promise in these new 
co-stars, who look and act exactly like a 
couple on a magazine cover. 

YOU CAN'T BELIEVE EVERY- 
THING— Triangle 

"You Can's Believe Everything" is a 
breezy summer idyl with the entire cast 
appearing in bathing suits most of the 
time. A society girl compromises her- 
self through the rescue of her lover from 
drowning; they are married however, and 
the veranda gossip is stilled. Gloria 
Swanson as the heroine manages to look 
attractive even when dripping with water, 
as she is almost constantly. The bathing- 
suit scenes are amusing and innocent 
enough except for a "Neptune's banquet" 
in which the party gets very rough. 

TO HELL WITH THE KAISER— 
Metro 

It is impossible to say anything too 
bad about William of Berlin. So when 
the climax of the Metro picture, "To Hell 
With the Kaiser," shows that arch fiend 
in the nether regions, where His Satanic 
Majesty abdicates in his favor, there is no 
libel. The story leading to this desirable 
consummation, is not strikingly original, 
except that it shows William getting his 
tips direct from the devil, garbed in his 
well-known habiliments. It is a story of 
brutalities and atrocities, all too true. 
Olive Tell is the lovely heroine, who 
helps put the Kaiser where he will eventu- 
ally go in truth, if hell there be. 

OPPORTUNITY — Metro 

Viola Dana is at her best in comedy. 
"Opportunity" 'is hers. She masquerades 
as a boy, encounters difficulties, and mar- 
ries the principal one at the end. Her 
wide-eyed wonder at her adventures is 
delightful. Hale Hamilton, lately seen 
with May Allison, again proves that Rich- 
ard Rowland knew what he was about 
when he drafted this large, genial person 
into films. 

SANDY — Paramount 

"Sandy," with Louise Huff and Jack 
Pickford, has caught all the spirit of ad- 
venturous youth that made the book so 
popular. Most of us remember the 
freckle-faced Scotch lad who began his 
career as a stowaway and later marries 
the girl who befriended him. The story 
is delightfully developed by George Mel- 
ford in a series of lovely pictures. It is 
one of the best of the Pickford-Huff ro- 
mances. 



The Shadow Stage 

(Concluded from page 80 J 

SHARK MONROE — Artcraft 

In the first reel of "Shark Monroe," 
William Hart appears as a skipper sailing 
a very rough ocean in a series of ex- 
tremely beautiful sea scenes. After this 
the setting changes to his well known 
habitat in the far North. It is an excel- 
lent far North picture about a good bad 
man who kidnaps a young girl to protect 
her. But Hart fits so perfectly into the 
"Sea Wolf" atmosphere that it seemed a 
pity to take him off the ship. 

TINSEL — World 

In "Tinsel," Kitty Gordon is a mother 
with a past and Muriel Ostriche is her 
roguish daughter. Her attempts to teach 
her child the difference between a" roue 
and a good man are so thorough that she 
is obliged to rescue the girl from the roue. 
Kitty Gordon looked particularly stun- 
ning in a series of "which-is-mother-and- 
which-daughter" poses. 



In A Nutshell 

"Shackled" (Paralta)— Louise Glaum 
as a magdalen, beautifully gowned. W. 
Lawson Butt, loving her grimly in spite 
of All. Intense domestic melodrama, well 
developed but a bit too hectic for the 
high school age. 

"Smashing Through" (Universal) — 
Herbert Rawlinson smashes through five 
reels of desert scenery. Is assisted by 
express trains, motor cycles and innu- 
merable wild bronchos. 

"Find the Woman" (Vitagraph) — O. 
Henry's "Cherchez la Femme" amplified 
into screen form. Alice Joyce wistful 
and lovely, in the role of the persecuted 
primadonna. She turns hisses to applause, 
winning the audience and the rather nega- 
tive hero. All this against the sultry, 
languorous background of a New Orleans 
summer. 

"Kidder & Ko" (Pathe)— Bryant Wash- 
burn having fun with amnesia; he feigns 
loss of memory and wins a fortune and 
a girl; humorous variation of an oft-used 
theme. 

"We Should Worry" (Fox)— Jane and 
Katherine Lee as mischievous youngsters 
who prevent their pretty aunt from mar- 
rying the villain of the play, and thwart 
a buglary; pretty silly stuff. 

"The Only Road" (Metro)— Viola 
Dana as a missing heiress, saved from 
villainous plots by Casson Ferguson, in 
adventures which bring out all her pretty 
wistfulness and quaint comedy talent. 

"The Model's Confession" (Universal) 
— Mary MacLaren, beautiful and drama- 
tic, in a foul story which culminates with 
a father making "love" to his own daugh- 
ter, while ignorant of her identity; Na- 
tional Board of Review please write. 

"The Claw" (Select)— Clara Kimball 
Young decorating a story in which Jack 
Holt is redeemed and killed in rescuing 
Milton Sills from South African savages; 
picturesque and clean. 

"Which Woman" (Bluebird)— Priscilla 
Dean embellishing a snappy crook story 



of a jewel robbery and a vanishing bride; 
Ella Hall as a rather awkward heroine. 

"A Little Sister of Everybody" (Pathe) 
— Bessie Love among labor agitators, 
marrying the young mill owner and mak- 
ing everybody happy; clean and mildly 
thrilling. 

"The Voice of Destiny" (Pathe) — A ' 
man is murdered and the identity of the 
thief revealed by Baby Marie Osborne 
playing a dictaphone record; a stupid 
yarn, badly acted. 

"The House of Gold" (Metro)— A 
story in which not one character acts like 
a human being except Hugh Thompson 
as the handsome hero; too complex to tell 
in the brief space to which it is entitled; 
Emmy Wehlen starred. 

"Nine-Tenths of the Law" (Independ- 
ent)— Mitchell Lewis repeating his well- 
known fighting French trapper impersona- 
tion by means of his curiously formed 
lower lip; the child is saved and the bad 
men killed. 

"Her Body in Bond" (Universal) — Mae 
Murray showing how long she can hold 
out against a seducer. 

"Hell Bent" (Universal) — Harry Carey 
riding, shooting, fighting, and trudging 
across the desert; hot stuff. 

"The Girl in His House" (Vitagraph) — 
Unscrupulous father of pretty girl swin- 
dles house from hero; happy ending in 
house that caused the trouble; typical 
summer-fiction plot, typically acted by 
Earle Williams and Grace Darmond. 
. "Closin' In" (Triangle) — William Des- 
mond as a noble athlete suffering for an- 
other's crime; vindicated thrillingly in the 
last reel; enlivened by several mining- 
camp fights in which the hero proves that 
he is as muscular as he is noble. 

"The Mortgaged Wife" (Universal) — 
Again the fable of the passionate em- 
ployer who saves his embezzling clerk 
from jail on the grounds of the clerk's 
wife joining his household; only in the 
end Ihe marries Dorothy Phillips, thereby 
showing a great deal more intelligence 
than the author of the story in toto, (not 
meaning that the tale is clownish, though 
of course — ) 

"The Fly God" (Triangle) — Roy Stew- 
art in a "Red Saunders" story, where a 
fly decides a jury's verdict; typically 
"western." 

"The Painted Lily" (Triangle) — Alma 
Rubens acting as a gambler's decoy in a 
mechanical melodrama; just another 
movie. 

"Tangled Lives" (Triangle) — "Tan- 
gled" is hardly the word — "scrambled" 
would be more to the point; a melodrama 
of suicide and unfaithful wives; Harry 
Morey towering above circumstances. 

"One Dollar Bid" (Paralta)— J. War- 
ren Kerrigan as a slave of liquor, sold to 
a girl under an old southern law, reform- 
ing, and marrying his purchaser. 

"The City of Tears" (Bluebird) — Car- 
mel Myers offering to sell herself for the 
liberty of the man she loves, but not being 
required to complete the deal; suggestive 
melodrama, decorated with the vivid My- 
ers personality. 

"Tempered Steel" (McClure)— Petrova 
in another melodrama in which she thinks 
she killed a man and didn't ; where's the 
producer who knows how to exploit the 
Petrova talent? 



Photoplay Magazine — Advertising Section 



103 




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Cutex, the cuticle remover, comes in 
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NORTHAM WARREN 
Dept. 709, 114 W. 17th St. 
N. Y. City 



Name 

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City State. 




ic>4 



ACCORDING to his daily schedule for 
work and play, "Fatty" Arbuckle 
should be anything but fat. For the fol- 
lowing is a complete outline of a day 
spent with Fatty: 7 a. m.. Fatty rises; 
7:15, a dip in the surf; 7:30, breakfast; 
8, leaves for studio; 8:01, arrives; 8:02. 
rolls the makin's; 8:05, reads his mail; 
8:15, works out with his trainers; 8:45, 
starts to make up; 9:30, confers with his 
comedy staff; 10, on the set; 10:01, re- 
hearses; 10:30 to 1 p. m.. shoots scenes; 
1 p. m., lunches; 1:30, back to work until 
4:29; 4:30, takes make-up off; 5, starts 
out in racer; 6:30, dinner; 8, goes to the 
theatre, for a motor boat ride, to a rival 
motion picture, or — to bed! 

NELL BOOXE, who is Mrs. Niles 
Welch, appears with Jack Barrymore 
in his first picture since his return. 

LEOXCE PERRET. who directed "The 
Million Dollar Dollies," now has his 
own producing company, and his first re- 
lease is a patriotic picture in which E. K. 
Lincoln and Dolores Cassinelli, formerly 
of Essanay, enact the leading roles. 



Plays and Players 

(Continued from page 80) 

TOM MOORE has been elevated to 
stardom after serving an apprentice- 
ship as leading man to Goldwyn's trio of 
feminine stars, Mabel Normand, Madge 
Kennedy, and Mae Marsh. Moore's first 
is "Just for Tonight." 

FRANCES MARION has just signed a 
new contract to write scenarios for 
Artcraft and Paramount for another year. 
Miss Marion has written many of Mary 
Pickford's most successful screen-plays. 

ELLIOT DEXTER has a new contract 
with the Paramount organization 
whereby he will continue as leading man 
in their West Coast companies. 

HAROLD LLOYD is a strong War 
Savings Stamp man. He strolled into 
a grill and after dinner called for his bill. 
He paid his check, gathered up the change 
from the waiter's little hold-up tray and 
laid a twenty-five cent thrift stamp there- 
on. The waiter seemed stunned for a 
moment, then he smiled and pocketed the 
stamp. "I understand, sir," he said, "it 
is a very good idea, sir. Thank you, sir." 



THE War Department has decided that 
Charles Chaplin is more valuable as 
a fun-maker right here at home than he 
would be in the trenches over there, so 
they have placed the comedian in the fifth 
classification. It is believed that he will 
render the United States greater service 
by continuing his work as a screen star, 
paying an income tax of $250,000, and do- 
ing such work as he has been doing for 
the Liberty Loan. Chaplin's income, it is 
said, would pay for the expenses of a 
whole company of soldiers for a year at 
the front. 



B 



RYANT WASHBURN is now with 
Paramount. He was with Pathe until 
that organization attempted to make him 
play opposite Baby Marie Osborne as the 
kid star's leading man. He will make 
eight pictures a year for three years. 

BLANCHE SWEET will appear in the 
screen version of Rupert Hughes' sen- 
sational novel of the great war. "The Un- 
pardonable Sin." Miss Sweet has signed 
a long-term contract with Harry Garson. 
(Concluded on page no) 



Do You Woo the Scenario Editor? 



By Cal York 



I DEFY you to point out to me a 
man, woman or child who hasn't 
written a scenario, doesn't intend to, or 
doesn't think he or she could if they 
ever tried. Everybody's doing it; and 
it's fair to say that frequently the un- 
known comes forward with the real live 
idea. 

I met Mrs. Kate Corbaley on the 
street in Los Angeles not long ago. 
You remember her, of course: her 
"Real Folks" won the first prize in 
Photoplay Magazine's scenario con- 
test, and she has been delivering salable 
stories ever since. One studio-man- 
ager bought five of her scenarios in a 
lump. 

She was carrying a large packet of 
letters, her morning mail. "Since I 
won Photoplay's first prize, I've come 
to be one of the most popular persons 
in the world," she laughed. "I have 
received hundreds of letters, and from 
every civilized country on earth, ask- 
ing me how to write scenarios and how- 
to sell them. I don't know whether all 
this popularity is a tribute to me or to 
Photoplay's circulation. One letter 
came from Calcutta, India, another 
from New Zealand, and another from 
Buenos Aires; and I've had a dozen or 
so from England. And on top of it all 
I've just spent two hours standing on 
one foot and then the other at my front 



**>. 





One scenario editor's assistant found two milk 

bottles on her stoop — one partly filled with a 

scenario^ 



door listening to detailed plots deliv- 
ered by the son of our plumber! Can 
you imagine it! " 

Mrs. Corbaley is not the only one 
with such tribulations. When H. O. 
Davis, general manager of Triangle, 
had fully made up his mind that he 
had discovered the best barber in Los 
Angeles, that gentleman began pouring 
plots into the defenseless Davis ear 
whilst he unconsciously poked lather 
down the Davis vocal orifice. Mr. 
Davis straightway bought a safety 
razor. 

C. Gardner Sullivan was forced to 
discharge a negro chauffeur because 
the colored pusson paid more attention 
to plots than to the carburetor and 
traffic regulations. Josie Sedgwick 
eschews her oldtime favorite hair- 
washing parlor since the lady in 
charge has found that Josie's a motion 
picture actress and has begun to bom- 
bard her with melodrama of her own 
invention with every lemon application. 

Last but not least, Mary O'Connor, 
assistant to Frank E. W^oods, who is 
head of Lasky's production depart- 
ment, sauntered out on the back porch 
of her Hollywood bungalow for her 
morning's morning and found that her 
milkman had left two bottles, one filled 
with the usual extract of kine and the 
other partly filled — with a scenario! 



Photoplay Magazine — Advertising Section 




I 



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cosmetics, let Resinol Soap help to clear it. 

Perhaps your complexion is unattractive 
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Resinol Soap is sold by all druggists 
and dealers in toilet goods. 



Men ivith tender faces find Resinol 
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When you write to advertisers please mention PHOTOPLAY MAGAZINE. 



io6 



Photoplay Magazine — Advertising Section 



Jackie Saunders knows that 

Carnation Milk 

makes everything you 
cook with it taste better 



MISS JACKIE SAUNDERS, the 
popular Balboa star, is a firm 
believer in good cooking. That is 
why she relies upon the uniform 
quality of Carnation Milk, which is 
always clean, sweet, pure and safe. 

Miss Saunders likes the convenience of Car- 
nation Milk — when she makes a pot of cocoa 
(for which she is famous) she is always 
sure of splendid milk to add to its goodness. 

Miss Saunders makes desserts and everyday- 
dishes with it, too — and we know you will 
enjoy spoon corn bread the way she makes 
it. Try the recipe given herewith. Use 
Carnation in your own choicest recipes and 
realize what a genuine help it is. 

Try Carnation — it betters your cooking and 
helps you save in these days of thrift. 




Delicate Spoon 
Corn Bread 

J4 cup cornmeal, 1 teaspoon butter, 
1 teaspoon sugar, 1 teaspoon salt, 2 
eggs, 1 cup Cam tion Milk, 1 cup 
water Mix the cornmeal and water 
and bring slowly to boiling point. 
Add the Carnation Milk, butter, salt, 
sugar and egg yolks. Lastly fold in 
the whites of the eggs beaten very 
stiff. Bake in a hot oven for 30 
minutes. Serve in the dish in which 
it is cooked. 



Custard Pie 

1 cup Carnation Milk, 1 
cup cold water. 3 table- 
spoonfuls sugar, 3 eggs 
beaten light, grated nut- 
meg. Stir Carnation 
Milk, water, and sugar 
together until the sugar 
is dissolved. Add eggs 
and nutmeg, and bake 
withouttopcrustin mod- 
erate oven until solid. 




CARNATION MILK is real milk— just cow's milk, evap- 
orated to the consistency of cream and sterilized to main- 
tain its purity and wholesomeness. Because of its rich quality 
it adds to the deliciousness of everything cooked with it. Use 
Carnation undiluted for coffee, as you would cream. For 
cooking, add an equal quantity of pure water and you "bring 
it back" to its full milk state. If you prefer skimmed milk for 
cooking, simply add more water. Carnation "stays sweet" 
until opened and for several days thereafter. 

Order several cans of Carnation Milk from your grocer today 
and use it in your cooking, in coffee, for drinking — give it a fair 
test for every milk purpose in your home, and we believe you 
will make it your only milk supply. 



Free Book of Recipes 
for Photoplay Readers 



\ 



AN UNSWEETENED COH0t»SjO**^L^r 



O-l— 



We will gladly mail to any reader of Photoplay a copy of 
"The Story of Carnation Milk," our book of tested recipes for 
everyday and special dishes. Write for it now. 

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Even' advertisement in PHOTOPLAY MAGAZINE i3 guaranteed. 




pQUESTIONsH 

i( AND 

4 ANSWERS 



"YTXH do not have to be a subscriber to Photoplay Magazine 
-*- to get questions answered in this Department. It is only 
required that vou avoid questions which would call for unduly 
long answers, such as synopses of plavs, or casts of more than 
one play. Do not ask questions touching religion, 

scenario writing or studio employment. Studio addresses 
will not be given in this Department, because a complete list 
of them is printed elsewhere in the magazine each month. 
Write on only one side of the paper. Sign your full name 
and address: ontv initials will be published if requested. If 
you desire a personal reply, enclose self-addressed, stamped 
envelope. Write to Questions and Answers, Photoplay 
Magazine, Chicago. 




Olga, N. Y. — We can't get over that 
old-iashioned idea that players act just as 
will whether they're married or not and 
the public knows it. You're sorry Henry 
Kolker is married and glad Eugene O'Brien 
isn't. But dearie, what difference does it 
make? "I like it so much better when 
they're not married," sez you ; "as then 
they seem to belong to us much more than 
ii some women had a claim on. them." Pus- 
sonally I think you're foolish, Olga. Most 
of us have got to take the plunge sooner 
or later and Eugene is young and an aw- 
fully good swimmer — oh, write him your- 
self. 



Myrtle, Guelph, Ont. — Now listen, 
Myrtle — we'll tell you about Dick Barthel- 
mess if you'll tell us how to pronounce 
that — Guelph. We have always, always 
wanted to know how to pronounce that — 
Guelph. Well, then — Richard may be 
reached at 126 W. 47th St., New York. And 
Richard is considered one of the very most 
promising juveniles on the screen; and he has 
played opposite Marguerite Clark and Madge 
Kennedy ; and he volunteered his services for 
a government picture; and he was born in 
N Y. C. twenty-three years ago. Indeed we 
never would have guessed your admiration 
for young Richard if you had not told us. 



Gladys F., St. John, N. B— If Bill Far- 
num would send you a "lock of his glorious 
hair," he isn't the same Bill we used to know. 
Neither does he value his crop as we value 
ours. Willum is a brother of Dustin Far- 
num; Marshall, another brother, has been 
dead some time. William is still with Fox; 
Dusty now has his very own company. And 
whady' think? Dusty has been adopted by 
a regiment, and he is now its god-daddy. 



Anita Jr., Phila., Pa. — So you think we 
are funny. Sometimes people smile to hide 
their tears. Well — and you want to know 
about Pearl White? It's her real name; 
we have her word for it. And she was 
born in Missouri; played "Little Eva" at 
an early date in her (Pearl's) history; first 
appeared in wild west pictures; starred in 
all the Pauline and Elaine and Pearl serials 
put on by Pathe. Address Sessue Haya- 
kawa care Haworth Pictures Corp., Los 
Angeles. Charles Ray, Ince studios. Write 
Paramount about Jack Pickford pictures. 
Quite sure Mary Miles Minter will send 
you her picture — just tell her we said so. Fol- 



lowing is the cast of "Unclaimed Goods :" 
Betsy Burke, Vivian Martin; Danny Done- 
gan, Harrison Ford; "Cocopah Kid," Cas- 
son Ferguson; "Gentleman Joe" Slade, 
George McDaniel ; Idaho Ina, Carmen Phil- 
lips; Sheriff Burke, Dick La Reno; Uncle 
Murphy, George Kunkel. Write again, An- 
ita, Jr. 



H. J. H., Western Australia. — I 
would never advise any one to be a motion 
picture actor, much less leave a happy home 
in Western Australia or anywhere else and 
come over here to get a job. Don't do it. 
An American producer — or any producer 
for that matter, never engaged a player on 
the strength of a photograph ; because any 
old photographer can make a lost hope look 
like a possibility. You may be either — 1 
don't know. Did you read "I Want to be 
a Movie Star" in the August Photoplay ? 
Good stuff; it may help you. 



"Shorty," Milwaukee. — On yellow 
paper, with purple ink, you write : "I think 
Billie West is rotten. I only saw him once 
but if I can't see the real thing it's out- 
side for me." And then, Shorty, after exe- 
crating Charlie's most persistent admirer, 
you want to know if you'd make a hit imi- 
tating him too. Address Chaplin care Chap- 
lin Studios, L. A. 



Claire, McKanna, Duluth, Minn. — 
Address Charles Chaplin, care L. A. Athletic 
Club. Mary Pickford, Artcraft studios, Holly- 
wood. Send your verses to them direct ; surely 
they will appreciate it. All of us appre- 
ciate true appreciation. I know Miss Pick- 
ford does. 



F. D. M., Toronto.— The Chaplin-Lau- 
der comedy has been released and the pro- 
ceeds will go to charity. We do not know 
what it is called. You say they changed 
George Walsh's "Pride of New York" to 
"On to Berlin" in Canada. Probably 
thought the latter title would be more at- 
tractive in the Dominion. 



"Billie," Portland, Me. — Owen Moore 
and Elliott Dexter took a house at the beach 
for the summer. Moore has not played in 
pictures now for some time. He has not 
been in hiding exactly, Billie ; but we don't 
know when he'll appear again on the screen. 
Dexter sitrned a contract to play for Para- 
mount for another year. Alma Tell, sister 



of Olive, has never been in the movies. 
"You remember when" the fair Alma was 
playing in stock in your city? Olive's latest 
is for Metro; "To Hell with the Kaiser" is 
the zippy title. Glad you enjoyed "The 
Eagle's Eye" in fiction form in Photoplay 
Magazine. "Please call me 'Billie,' Mr. An- 
swer Man!" Very well, Billie; we endeavor 
to please. 



Lucile, Tucson, Ariz. — Norman Kerry 
played Gordon in "Amarilly of Clothesline 
Alley." His real name was Norman Kaiser 
— before the war. He is not married — yet. 
He lives in Los Angeles; address him care 
L. A. Athletic Club. We couldn't print 
ycur initials, Lucile; and you know why. 
Nev' mind, Lucile ; mebbe when we know 
vou better. 



Sara Naomi, Norfolk, Va. — It may be 
your first, but we hope it won't be your last. 
What do you want to know about the play- 
ers in the "Hidden Hand" serial? Mahlon 
Hamilton won't tell his age. Doris Kenyon 
was born in Syracuse, N. Y., Sept. 5, 1807 
They are not appearing together on the 
screen at present ; Hamilton last supported 
Elsie Ferguson in "The Danger Mark," 
while Miss Kenyon has her own company. 
Her latest is "The Inn of the Blue Moon." 
Doris isn't married. Indeed you didn't ask 
too much. Most women figure it out this 
way : they know a man can't refuse them 
anything because if he did they might cry — 
and every man knows that the reason a 
woman gets what she wants when she cries 
is because she looks so ugly a man will do 
anything to escape the sight. 



Rose, L. A. — Dorothy Dalton was di- 
vorced from Lew Cody some time ago. Miss 
Dalton may be reached care the Thos. H. 
Ince studios. Speaking of nuts and pecans — 
what about Harold Whoosis, the famous 
actor and filmstar? 



O. B., Vandaha, Ohio. — Mary Fuller is 
not playing at present. One of her latest 
appearances was opposite Lou Tellegen for 
I.asky in "The Long Trail." Theda Bara is 
acting right along — oh my, yes. You'll say 
so when you've seen her in "Cleopatra" and 
"Salome." Oh, but that is a very old one 
about her becoming bara and bara every 
day. Certain people we know do opine that 
Cleo and Salome were things to write home 
about ; others — But it is more than likely 



VV 



io8 



you'll like "Salome." You'd like to know 
how Bara is fixed for cash? Is this sudden 
anxiety over her finances occasioned by your 
witnessing her meagrely caparisoned "Cleor''' 
Of course if you re inclined to worry about 
it, why not invest your excess funds in bonds 
or War Savings Stamps? Theda'd appreci- 
ate that much more, we know. Money is 
such a bore ! 



Questions and Answers 

(Continued) 



Molly Wraith, Vic, Aus. — Charles Chap- 
lin is not going to war. The War Depart- 
ment said the comedian is more valuable 
as a money-maker here at home, as his 
income would pay the expenses of a company 
of soldiers at the front for over a year. 
House Peters is playing in Blanche Sweet's 
new picture ; Page Peters died two years ago, 
but the two were not related. Mary Fuller 
is not playing at present; John Bowers is 
pictorially active at the World Film Studios; 
and Helen Greene — where are you, Helen? 
We haven't any new dope on Helen Greene. 
With Famous Players last. We're afraid you 
have us wrong, Molly. We never said we 
were 76, drink buttermilk, or get eight dol- 
lars a week. No, Molly ; and we aren't 76 — 
our age doesn't matter, just so we are not 
so young that we answer questions foolishly 
nor so old that we answer them bitterly. It 
doesn't matter what we drink just so we 
don't drink too much of it; and we don't 
get eight dollars a week — but we aren't wor- 
rying, so why should you? There! We 
almost forgot to make our weekly payment 
on our bond. More anon, which means after 
while. 



Walter E., "Tooradin," Pictoria, Aus. — 
Very sorry, Walter, that your suggestion can- 
not be carried out. We think you'll find all 
the news, pictures, and personalities you can 
digest if you read Photoplay every month. 
Write to us any time, Walter — we will be 
glad to answer you personally if you'll en- 
close a stamped addressed envelope. But 
that's why they are interesting, don't you 
know; we know so little about them. 



Sally, Somerville. Are we sure Mr. 
Lockwood has a young son? We are not 
thinking of Wallace Reid's young son, are 
we? Mr. Lockwood's young son came as a 
great surprise to you? Well, well! Mr. 
Lockwood's young son is nine years old or 
thereabouts. Quite, quite sure. Sally. It is 
a blow, though; isn't it? We never try to 
argue with a woman. You're inconsistent, 
Sally, but then if you weren't you wouldn't 
be interesting. 



Imelda Meadows, Lower Hutt, N. Z. — 
Well, Imelda ! You ask us first to excuse 
thickness in writing and then you beg par- 
don for change of thickness in writing due to 
having lost the first pen you were using in 
change of positions. Never mind, Imedla — 
no, Imelda. Ah yes — imitation is the sincer- 
est form of flattery, but then flattery is in 
very poor taste. Violet pronounces it Mer- 
ser-eau — accent on the last syllable, with 
"eau" pronounced as "owe." Miss Mersereau 
is still with Universal, having resumed work 
at their Eastern studio. You think you have 
filled us up with questions? Imelda, you 
don't know us. Here are the addresses you 
want : Olive Thomas, Triangle, Culver City, 
Cal.; Pearl White, Pathe, Jersey City, N. J.; 
Enid Bennett, Thos. H. Ince Studios; June 
Caprice, Fox, New York; Creighton Hale, 
Pathe; June Elvidge, World Studios, Fort 
Lee, N. J. Hazel Dawn was the lady you 
admired so much in "One of Our Girls." 
Maciste in "Cabiria." Thank you for wish- 
ing us the best of good business this year. 
In closing we would wish you a very merry 
Christmas and a happy, happy New Year— 
also would remark this is the longest letter 
we have written since our second wife eloped 
with the Italian barber. 



Half-Second 
Satires 

I WENT 

*■ Into a Photodrome. 

Near Me Sat 

A Dramatic-critic. 

He was Reading 

A Book 

Of his Own. 

On — "The Drama: 

From the Then 

To the Now." 

Once in a While, 

As he Turned a Page, 

He Looked Up at the Screen. 

He Finished 

His Own Book t 

And Glanced 

At his Wrist-Watch. 

"The Movies!" he sneered; 

"Bah!" 

And Passed Out. 

I Went 

Into a Photodrome. 

They were Showing 

Cleo Clux, 

In her Latest Vamp. 

Near Me Sat 

A Little Girl— - 

A Pretty Girl, 

With Wide-open Eyes. 

As she W^atched the Screen, 

Where the Vamp Unreeled, 

She Leaned Forward. 

Breathless. 

And she Passed Out 

With a Slant to her Eyes, 

And Drooping Shoulders. 

1 Went 

Into a Photodrome. 

Near Me Sat 

Half-a-Hundred : 

"The Movies 

Cannot Last." 

He Said. 

"In Another Six Months, 

All our Film Magnates 

Will Be Back 

In the Button Business; 

All our Prominent Stars, 

Behind the Ribbon-counter 

And the Bank-window. 

Fake Films 

Failed 

Just the Other Day; 

Utopia 

Has Gone Under; 

And Pretty Soon 

People will Forget 

There ever Was 

A Picture-show. 

Why if 

You Only Knew 

The Way 

They're Slashing Salaries — ! 

The Stage 

Is Going Strong; but 

The Poor Pictures — " 

And he Passed Out, 

Without Noticing 

The Other Half-Hundred 

W 7 ho were 

W r atching the Screen. 



A. S., Detroit, Mich. — Questions are 
never indiscreet; answers sometimes are. 
Robert Gordon is the young mans name; he 
scored a hit in "Missing," the war drama 
from Mrs. Humphrey Ward's novel. Read 
the story about him in this issue of Photo- 
play. Ah yes — Robert is very very cute — 
but he's going to grow up to be a great big 
man some day. Earle Foxe is back on the 
stage now. 



L. W. Harrison, Troy, N. Y. — Madame 
Sarah Bernhardt is now in vaudeville. Her 
last picture was "Mothers of France," whicn 
was filmed Over There. Did you know that 
Sarah was a pioneer screen actress? Long 
ago she played "Queen Elizabeth" beiore 
French cameras, and Lou Tellegen, husband 
of Geraldine Farrar, was her leading man. 
Richard Barthelmess opposite Marguerite 
Clark in "The Valentine Girl." "The Mil- 
lion Dollar Mystery" was filmed in and 
around New Rochelle, N. Y. Florence La 
Badie, who died last year; James Cruze, now 
with Lasky, and Marguerite Snow, of "The 
Eagle's Eye," were the principal players. 



C. A., U. S. Naval Training Station, 
Newport, L. I. — You wish to know how 
fo write scenarios? Were it not for the 
gravity of the situation, we should think 
you might be spoofing us. However, since 
you seem to be in earnest — would say — 
if you have an idea, put it in synopsis form 
and send it to the company whose needs 
seem best to fit your idea. Every com- 
pany has continuity writers whose work it 
is to put the synopses into scenario form. 
The idea is what they want. Good luck 
to you. 



S. J., Ontario, Can. — We haven't the 
maiden name of Mrs. Harold Lockwood. 
Louise Huff is married to Edgar Jones and 
has a little daughter, Mary Louise. Your 
question about that comedienne is deferred 
for the present. Ethel Clayton's husband, 
Joseph Kaufman, died of pneumonia Feb. 
1, after an illness of ten days. Carol Hal- 
loway and William Duncan are noncom- 
mittal as to their matrimonial status. Vera 
Sisson played opposite Harold Lockwood 
in "Paradise Garden." Remember Miss 
Sisson when she was J. Warren Kerrigan's 
leading woman? She retired from the 
screen after her marriage, but came back 
to play in that picture. Now she's gone 
again and we don't know when she'll be 
back. 



M. B., S. Weymouth, Mass. — Is George 
Beban an Italian by birth or merely by 
nationality? Neither. George was born in 
San Francisco, therefore he is American both 
by birth and nationality. You like to see 
an actor work? Ah, Millie, you ask too 
much ! And you think Ernie Shields 
deserves better chances than he has at 
present ! He's in the Army now. He is 
a married man, Millie; Mrs. Shields is Bet- 
ty Schade, well known in Universal pic- 
tures. And if Ernie has a secret sorrow we 
don't know about it. If we were a Sam- 
my we wouldn't have time to think about 
secret sorrows even if we had one — which 
Ernie hasn't. 



O. P. R., Shanghai, China. — Pearl 
White, Billie Burke, Mary Pickford, and 
Norma Talmadge will doubtless appear on 
the screens in China, but it is extremely 
unlikely that they will ever appear per- 
sonally, as they all have long contracts and 
China is a long long way from home. Pearl 
White is not married. Earle Foxe is not 
related to Norma Talmadge. Did you know 
Mr. Foxe is back on the speaking stage 
now? Glad to hear from you at any 
time. 

[Continued on next page) 



Photoplay Magazine — Advertising Section 



109 



Questions and Answers 

( Continued) 

E. G., Frazee, Minn. — Alice Joyce and 
Harry Morey are married — but not to each 
other. William Duncan and Carol Hallo- 
way are not married — to each other. Earle 
Williams is not a .d never has been mar- 
ried; and Earle has been heard to say he 
never will be. Yes; Bill Hart is engaged 
to a non-professional with whom he became 
acquainted through correspondence. Ad- 
dress Duncan and Halloway care Western 
Yitagraph. Ben Wilson is married; he has 
a young son. William Duncan doesn't give 
his age. Bill Hart is forty-four. Earle 
Williams was born in 1880. Alma Hanlon 
appears in pictures off and on. Bigelow 
Cooper was not in "Where are my Chil- 
dren?" You're thinking of Tyrone Power. 



Lila, Pittsburgh, Pa. — Herbert Rawlin- 
son is at present writing playing opposite 
Mabel Normand for Goldwyn; he may be 
reached care that company at their Fort 
Lee studios. By the time this reaches you, 
Herbert may be out west again; he says the 
east cramps his style. Actors are the 
luckiest persons in the world. If they are 
clever at all they may choose their own 
parts, whether comedy or tragedy; while 
the rest of us poor mortals can only play 
what we can get — often extras. We are 
not sarcastic — that is, we do not mean to 
be. So it does not really matter, does it? 



A. K., San Francisco. — Here's all the 
dope we have about "Bull" Montana : Bull 
is an actor and wrestler; he acted as physi- 
cal trainer for Doug Fairbanks; and now 
he is off to war. In the Navy the fighter 
will be assigned to training men at the 
western submarine base. Bull once aspired 
to the light heavyweight wrestling cham- 
pionship of America. Douglas Fairbanks 
has a brother John, who is his business 
manager. Wallie Reid is an only chee-ild. 



C. A. R., Birmingham, Ala. — No record 
of Marvell Safford. Guess she's out of the 
game at present. Jack Pickford was married 
to Olive Thomas in the early fall. 



A. C, Greenville, S. C. — J. Warren Ker- 
rigan was laid up with a broken leg for 
about eight months. He has returned to the 
screen now and you may be able to see him 
in "Toby" in a short time. Now just among 
us girls it is said that his engagement to 

is about to be announced. But just 

among us girls, y'understand. Address Mr. 
Kerrigan at the Paralta studio. 



R. B., Lansing, Mich. — You didn't in- 
close a stamp. That's the reason of the 
answer here. You haven't sawn Carter De 
Haven in pictures of late because he has 
been appearing on the legitimate stage and 
hasn't been doing any screen work. You 
buck up and pull down your vest and walk 
into a studio and look around deteckitive 
like and when asked what you are looking 
for say "work." Don't become discouraged 
if they give you a mop and scrub pail and 
tell you to "go to it." 'Tis often just such 
a beginning that leads to just such an ending 



C. J. P., Brooklyn, N. Y.— Well now 
we'll tell you it's just like this. Sometimes 
actors and actresses leave the screen for the 
period of a year or two. During their ab- 
sence undoubtedly their place in the hearts 
of the fans has been usurped by someone 
else. That probably accounts for the un- 
popularity of your favorite after his return 
to the screen. Anita Stewart has returned 
to Yitagraph. 

{Continued on page 118) 



<^H| Equals 
*■ ' 89 Eggs 




Or 7 Pounds of Round Steak 

Yet Costs Only 30 to 32 Cents 

The large package of Quaker Oats vields 6221 calories 
in units of nutrition. 

Official figures give eggs 70 calories each, and round 
steak 890 calories per pound. 

That package of Quaker Oats — costing 30 to 32 cents — 
compares in food units as follows: 



It Equals 89 Eggs 

Or 7 lbs. Round Steak 

Or 7 lbs. Leg of Lamb 



Or 9 lbs. Veal Cutlets 
Or 1 1 lbs. Fresh Halibut 
Or 12 lbs. Broiled Chicken 



These indispensable foods, for the same nutrition, cost from 7 to 10 
times as much as Quaker Oats, according to prices at the present writing. 

That is why food authorities urge the wider use of oats. Not merely 
for breakfast, but in bread and muffins, in cookies, in soups. 

The oat stands supreme among grain foods — as energy food and as 
food for growth. It is the richest of all grains in iron. 

Yet Quaker Oats — the finest grade — ■ supplies nutrition at 5 cents 
per 1000 calories. 

If it cost $2 per package it would still be cheaper than the average 
meat food. 





Just the Richest Flakes 



Quaker Oats is a superior grade, 
flaked from queen oats only. None 
but the richest, plumpest oats are 
used in its production. We get but 
ten pounds from a bushel. 



The result is exquisite flavor, 
which has made Quaker Oats the 
leading oat food of the world. Yet 
it costs you no extra price. 



12 to 13c and 30 to 32c Per Package 

Except in Far West and South 



When you write to advertisers please mention PHOTOPLAY MAGAZINE. 



I in 



Photoplay Magazine — Advertising Section 




Pers'oTVcvl pai-txliTvesV 

i ^ • womauV • 3'reivies'l • A&rm 




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There s bit: money is 
writing moving pic- 
ture plays and short 
stories if >ou have 
the right plot. Get- 
ting the right plot or 
— idea is quite a prob- 

lem, so. if you have any literary talent, we 
urge you to send at once for the 

Movie Picture Thinking Machine 

a simple, clever device, reentered at the U. S. Pat Office, 
which suggests plots fur "movies" and stories. Read what 
some leading publications and authors say of this wonder- 
ful machine: "A mechanical device which rreaU-s plots 
for movie scenarios. plays and short storit*. " — Popular 
Mechanics Magazine. "Contains more plots than the mov- 
ing-picture people could use in a hundred years. " -Pop- 
ular Science Monthly. "A machine that actually thinks." 
—Boston Sunday Herald. "It does indeed supply unusual 
combinations which offer frrsh ideas to a writer." — Eustace 
Hale Ball, celebrated director and author. One great Cal- 
ifornia moving-picture studio, after testing this wonderful 
machine, bought 12 more for its writers. Sent po stpaid 
with simple instructions for $1.00. PAMPHLET FREE. 
THINKING MACHINES, Inc., Cambridge, Mass. 




Propaganda 

(Concluded from page 45) 



ganda. In Chicago the censor board took 
a notion this picture would offend our 
German-American citizens, and though we 
were openly at war with Germany, held 
up the picture. The courts and a patriotic 
judge horrified at such a censorial report, 
killed the order and upheld Miss Pickford. 

Rita Jolivet made a cinematic memo- 
riam to those who lost their lives on the 
Lusitania. It was she who stood on the 
deck with Charles Frohman in his last 
moments and carried back his now famous 
message, "Why Fear Death? It is Life's 
Most Beautiful Adventure." 

Miss Jolivet was assisted in making the 
film by her husband. Count de Cippico. 
It has been sent from coast to coast, and, 
after America has thoroughly digested it, 
she tells me, it is her hope to take it into 
France, England and Italy. 

"My best friend." said Miss Jolivet, 
"was in Germany at the outbreak of the 
war. She was soon to become a mother. 
During her accouchment she had every 
care, but after the child was born one of 
the delicate oculary nerves was ruptured 
so that the baby would be blind. This, 
Charles Frohman's death, the loss of so 
many of my kinsmen in France and the 
thought that if I could make every woman 
understand how much her services are 
needed if only to save a teaspoonful of 
flour a day inspired my picture." 

It is difficult to discriminate and say 
which film has done the most to aid 
the fight. Madame Sarah Bernhardt's 
'Mothers of France," which should have 
been titled "Mothers of the World," has 
probably called forth the most tears. 
Madame Bernhardt, with a brave spark 
burning in her feeble body, stood knee 
deep in the trenches and offered herself a 
living sacrifice to her beloved France. 
The tears are not only for the bereaved 
mothers, but also for the pathetic old 
woman, lame and sick, who forgot her own 
discomfort to try and stir the other women 
of the world to action. The motive of 
this picture glorifies it. No one who ever 
saw Bernhardt and her silent plea that 
we give our loved ones gladly and proudly 
to the cause will ever forget her message. 



Herbert Brenon made a stepchild to the 
war films in a screen play featuring Ras- 
putin and the downfall of the Romanoff 
dynasty. This and his English birth 
brought forth an invitation from the Eng- 
lish government for him to make an his- 
torical film record for the British archives. 
Mr. Brenon is now in England working on 
this mission. 

There have been many official war 
films, some of them actually photographed 
at battles which have now gone down in 
history as decisive moments in the great 
world's war. Among those which have 
occupied the screen during the past year 
are: "The Retreat of the Germans at the 
Battle of Arras," "The Italian Battle- 
fronts," "The Battle of the Ancre," and 
"Heroic France and the German Curse in 
Russia." The last named is more of a 
pictorial discussion of the Russian situa- 
tion than a moving picture of any specific 
battle scene. 

All of these war time pictures have 
been received with enthusiasm with the 
exception of a few which had been better 
left unfilmed. These are hectic dramas 
using the war as a reason for their exist- 
ing, and made with no high patriotic pur- 
pose, but with a thinly veiled camouflage 
to make money. They have offended both 
the individual patriot and the government. 

The very fact that some of the pro- 
ducers have taken advantage of war time 
has induced the government to put every 
patriotic picture released under strict sur- 
veillance, with a trained corps of men to 
pass upon their fitness to serve as propa- 
ganda. Some of these features, while 
harmless enough, are so badly done, that 
even the heavy Teutonic nature must have 
found them amusing. But the good done 
by the screen has far outweighed any evil 
effects of these ridiculous war films. 

The President has congratulated the 
moving picture industry on the help it has 
given the nation at this time, and he and 
the other men now at the helm in Wash- 
ington have gone on record as saying these 
pictorial propagandas are among the most 
valuable war-time assets United States 
owns. 



Plays and Players 

(Concluded from page 104) 



AT last the unusual in a press agent's 
story. Mae Marsh appeared in Traf- 
fic Court recently as witness for Lela 
Jones, a scenario writer, charged with ex- 
ceeding the speed limit. The wistful star 
plead that the car was unruly — but — a 
fine was imposed just the same. 

THEY say that Alexander Clarke, son 
of the actor, is now private secretary 
to Francis X. Bushman. Although the 
name Bushman is somewhat familiar, we 
can't remember having heard of "the 
actor. Alexander Clarke." 

CARUSO, it is reported, is to be a 
Paramount star at $100,000 a picture, 
with "I Pagliacci" as his first production. 
Paramount has neither denied nor con- 
firmed, which means that the details of 
the contract have not been completed. 



WHEN Herbert Brenon had nearly 
completed the film which he went 
to England to make for the British gov- 
ernment under the supervision of Hall 
Caine, the entire negative was burned. 
Alien enemies were suspected, and the 
celluloid tragedy will result in Germans in 
England being subjected to much closer 
surveillance than ever. Mr. Brenon, by 
this time, has the picture well on the way 
to a second completion. 

GLORIA HOPE has lost a vacation but 
she doesn't care. She has started 
work in Griffith's latest feature, which 
will be released by Artcraft. Ever since 
she went into the films a little over a 
year ago. it has been her ambition to 
work with Griffith and she is enjoying 
the experience far more than the holiday 
which she had intended to take. 



Every advertisement in THOTOrLAY MA0AZIXE is guaranteed. 



Photoplay Magazine — Advertising Section 



III 



STUDIO DIRECTORY 

For the convenience of our readers who 
may desire the addresses of film com- 
panies we give the principal ones below. 
The first is the business office; (s) indi- 
cates a studio ; in some cases both are 
at one address. 

American Film Mfg. Co.. 6227 Broad- 
way, Chicago; Santa Barbara, Cal. (s). 

Artcraft Pictures Corp., 485 Fifth 
Avenue. Now York City; 516 W. 54th St.. 
New York City (s) ; Fort Lee, N. J. is) ; 
Hollywood, Cal. (s). 

Balboa Amusement Producing Co- 
Long Beach, Cal. (s). 

Bi:enon, Herbert, Prod., .J09 Fifth Ave- 
nue, New York City; Hudson Heights, N. 
J. (s). 

Christie Film Corp., Sunset Blvd. and 
Conor St., Los Angeles, Cal. 

Essanav Film Mfg. Co., 1333 Argyle 
St., Chicago, (s). 

Famous Players Film Co., 483 Fifth 
Ave., New York City; 128 \Y. 56th St., 
Nr« York City. (s). 

Fox Film Corp., 130 W. 46th St., New 
York City ; 1401 Western Ave., Los Angeles 
(s) ; Fort Lee, N. J. (s). 

Goldwyn Film Corp., 16 E. 42nd St.. 
New York City; Ft. Lee, N. J. (s). 

Horsi.ey Studio, Main and Washing- 
ton, Los Angeles. 

Thomas Ince Studio. Culver City, Cal. 
Kleine, George, 166 N. State St., Chi- 
cago. 

Lasky Feature Play Co., 485 Fifth 
Ave., New York City ; 0284 Selma Ave., 
Hollywood, Cal. (s). 

Mutro Pictures Corp., 1476 Broadway. 
Sew York City; 3 W. 61st St., New 
York City (s) ; 1025 Lillian Way, Los 
Angeles, Cal. 

Mt.Rosco Photoplay Co., 222 W. 42d 
St.. New York City ; 201 Occidental Blvd., 
Los Angeles, Cal. (s). 

Mutual Film Corp., Consumers Bldg., 
Chicago. 

1'aralta Play Inc., 729 Seventh Ave., 
New York City ; 5300 Melrose Ave., Los 
Angeles, Cal. (s). 

Pvthh Exchange, Ind., 25 W. 45th 
St., New York City ; Astra Film Corp., 
1 Congress St., Jersey City. N. J. (s) ; 
Rolin Film Co., 605 California Bldg., 
Los Angeles, Cal. (s) ; Paralta Studio, 
5800 Melrose Ave., Los Angeles, Cal. (s). 

Petuova Picture Company, 230 W. 
38th St.. N. Y. C. 

Rotiiacker Film Mfg. Co., 1339 Diver- 
Bey Parkway, Chicago, 111. (s). 

Select Pictures Corp., 729 Seventh 
Ave., New York City. 

Selig Polyscope Co.. Garland Bldg.. 
Chicago; Western and Irving Park Blvd.. 
Chicago (s) ; 3800 Mission Road, Los An- 
geles, Cal. (s). 

Selznick. Lewis J., Enterprises Inc. 
729 Seventh Ave.. New York City. 

Talmadge. Constance, 729 Seventh 
Ave., N. Y. C. 

Talmadge, Norma. 729 Seventh Ave.. 
N Y. C. : 318 East 48th St., N. Y. C. 
(s). 

Triangle Company. '1457 Broadway, New 
York City; Culver City. Cal. (8). 

Universal Film Mfg. Co.. 1600 Broad- 
way, New York City ; Universal City, 
Cal.; Coytesvllle, N. J. (b). 

Vitagraph Company of America, E. 
15th St. and Locust Ave., Brooklyn, N. 
Y. ; Hollywood, Cal. 

Wn.\RTON. Inc., Ithaca, N. Y. 

World Film Corp.. 130 W. 46th St., 
New York City; Fort Lee, N. J. (s). 







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(Concluded 

"You know the worst now," Mrs. Mar- 
shall said, "but there is still another side 
that you have not heard. You will, you 
must listen." 

So with Marilyn standing before her, a 
pale and immovable figure of justice, the 
mother told her story. 

"I have always had a deadly fear of 
firearms," she told the girl. "But shortly 
before John was born, an incident oc- 
curred which gave that fear serious con- 
sequences. I woke from a sound sleep to 
find myself looking into the muzzle of a 
burglar's pistol. Two weeks later, John 
was born and we soon discovered that the 
fear that he had inherited from me 
amounted almost to a mania. As a little 
boy, the sight of a toy pistol would send 
him into hysterics. When the war came 
— and draft was declared — I couldn't 
have my boy branded with cowardice 
through no fault of his own — so I paid 
another to take his place." 

As she finished, the look of contempt 
faded from Marilyn's face and in its place 
appeared a great pity for one so strong — 
and so weak. But for all that, she knew 
that pity was not great enough to put in 
the place of the old love. She kissed the 
broken-hearted woman gently on the fore- 
head and softly left the room. 

As she ran up the stairs to her own 
little living room, she heard a slight noise 
behind the tapestries and turned to face 
Blinky. He held out his hand with a la- 
conic, "come through." 

"You're too late," she answered, fear- 
lessly. "There is nothing more to conceal. 
Tell all you know, and I wish you joy 
of it." 

Blinky's incredulous scowl changed to 
fury as he realized that she was speaking 
the truth. As Marilyn tried to pass by 
him into the hall, he seized her by the arm 
and flung her back into the room. She 
staggered against a fable and fell with a 
crash to the floor. 

When the dazed girl raised herself to her 
knees, she saw John standing in the door- 
way facing Blinky who was advancing 
slowly toward him with a pistol in his 
hand. John's face was distorted by his 



from page 36) 
first sight of the weapon, but when he 
glanced at the cringing figure of Marilyn, 
all trace of fear changed to blind anger. 
He sprang at the crook, tearing the pistol 
from him just after he had fired. 

In the struggle that followed, Marilyn's 
only impression was of the writhing com- 
batants on the floor and then of the dark 
figure of Blinky shooting past her and out 
of the window as if pursued by a demon. 
Her next conscious picture was of John, 
standing unsteadily in the drawing room 
supported by his mother and laughing 
hilariously over a deep wound in his arm. 

"I've been shot," he announced, glee- 
fully. "I've been shot and never knew it. 
So that's everything a gun can mean, after 
all." 

The next morning, as Marilyn brought 
the breakfast tray in to her convalescent 
hero, he caught her hand and pulled her 
down to the chair beside him. 

"It's all over," he told her eagerly. 
"The doctor said I'll never be afraid of a 
gun again. Next week I enlist under the 
name of the man who has brought so much 
honor to mine. But before I go — it would 
help so much if I knew you belonged to 
me. Do you think you could, Marilyn, 
after everything?" 

Marilyn looked up and met his plead- 
ing eyes. In her mind's eye she could see 
him — within a few days — - reporting 
proudly for service. Then she slipped to 
her knees before the bed in an adorable 
gesture of self-surrender. 

"For all my fears," she said whim- 
sically, "my dream came true. I'll be a 
real war-bride this time, with no pretend- 
ing." 

Two women stood before the broad win- 
dows of Hillcrest, watching the long line 
of khaki-clad boys as they swung gaily 
down the avenue. As the last company 
vanished in the distance and the music of 
the last band grew fainter, the younger 
woman drew closer to the older with a 
movement of utter confidence and sym- 
pathy. Above them both hung the in- 
vincible symbol of their joint devotion — 
a single service star. 



"She Never Worked For Griffith" 



(Concluded 

"What are you going to do next?" I 
asked. 

"Well you see, it's like this," she re- 
plied, with a twinkle. "Mr. Zukor has 
been coaxing me to accept a contract to 
star with Paramount pictures, and Metro 
is anxious to have me come back there, 
and some very big capitalists want to or- 
ganize my own company for me, so I don't 
know just which to accept." 

"In other words, you know the Broad- 
way patter, even if you don't use it in 
your business," I said. 

"You can't get away from it if you have 
ears to hear," she answered. "It's old 



from page 70) 
stuff now, but a lot of the girls don't seem 
to know it yet. Perhaps you didn't know, 
though, that I did have one of those things 
once — a company of my own. We had 
awfully nice offices." 

"How were your pictures?" 

"I didn't say we made pictures — I said 
we had nice offices. We didn't get as far 
as making pictures." 

I can't think of anyone but Marguerite 
Snow who would not have added, "But 
of course you mustn't say anything about 
that in print." 

A remarkable girl, and that's the truth. 



AFTER DIVORCING his sixth wife, Nat Goodwin will ap- 
pear in "Married Again," on the screen. Write your own 
comment. 

HARRY HOUDINI, the handcuff king, is under a contract 
to appear in a movie serial of mystery. What's a contract 
to an eel like Harry? 



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Photoplay Magazine — Advertising Section 

Do You Believe In Fairies 

(Concluded from page 48) 

neglected, but with this groundwork, edu- 
cation is worth more than mere learning 
to be had from books. 

Among her other admirers was no less 
a personage than David Belasco. This 
acquaintance was formed in Rochester. 
Mr. Belasco was there, trying out a new 
show. Cuddles was there appearing, as 
usual, in a Gus Edwards revue. Some- 
body had a brainstorm, and just because 
someone had mislaid the particular pa- 
pers which proved that Lila Lee was au- 
thorized by the school board of Hoboken 
or somewhere, to appear on the stage, 
the child labor law officials refused to 
permit her to appear. Children half her 
age, and not half so strong, probably 
were working in Rochester sweatshops 
at the time, but to interfere with them 
was not spectacular. 

So Cuddles was making considerable 
fuss around the hotel where Mr. Belasco 
happened to be staying. They were in- 
troduced, and Cuddles poured out her 
woeful tale. 

"I wouldn't cry about it," said the 
famous David, "I will make you a star 
in 1919." 

It isn't 1010 yet. but Mr. Belasco will 
not be able to make good his promise, as 
the Lasky contract will interfere. 

Another individual, not unknown to 
fame, who looked upon this damozel and 
found her delightful, was Harrison 
Fisher. In a moment of enthusiasm he 
declared, it is said, that she was the most 
beautiful child in the world. 

That is the way things happen to this 
little Lila Lee, the girl whose name is 
a melody, and whose smile is a caress, 
and wliose life is romance. Romance it 
is to be right to the end of the chapter, 
too, for guess what is the name of the 
first picture she is going to make for 
Mr. Lasky— "The Cruise of the Make- 
Believe." And if Lila Lee's whole life 
doesn't sometimes seem to her to be just 
that, then she is even more wonderful 
than her best friends already understand. 



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yearning for self-expression in the man- 
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make the hero understand that she is so 
because she is so? 

That we can have domestic drama in 
the movies — without the curly-haired 
child who has a cat and a dog and some- 
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That we can have deep tragedy in the 
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That we can have grand opera in the 
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!4 



Photoplay Magazine — Advertising Section 



What One Dollar 
Will Bring You 

More than a thousand pictures 
of photoplayers and illustrations 
of their work and pastime. 

Scores of interesting articles about the 
people you see on the screen. 

Splendidly written short stories, some of which 
you will see acted at your moving picture theater. 

The truth, and nothing but the truth, about 
motion pictures, the stars, and the industry. 

You have read this issue of Photoplay so there 
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most surperbly illustrated, the best written and 
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Slip a dollar bill in an 
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PHOTOPLAY MAGAZINE 

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PHOTOPLAY MAGAZINE 

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The Eagle's Eye 

(Concluded from page i6) 

leaped upon him from the rear and clutch- 
ing his hands tight about the detective's 
throat sought to choke the life from him. 
Grant gagged; his eyes bulged. The 
world began to grow dark. He heaved — 
he stumbled — then suddenly felt the hands 
loosen their grip as there came the crack- 
ing sound of a blow. Two arms closed 
about him. Harrison Grant opened his 
eyes — to look into those of Dixie Mason. 
— to slowly revive under the magic influ- 
ence of this wonderful girl. He rose 
slowly to his feet. 

"I got him." was Dixie's simple an- 
nouncement. "Hit him on the head with 
the butt of my gun.'' 

"Good little D.xie!" Grant pressed her 
hand, then with his old-time eagerness, 
hurried to the fight again. But it was all 
over. Outside there sounded the clang- 
ing of a patrol wagon. Imperial Ger- 
many's last great plot against America 
had failed. 

***** 

Months later, Harrison Grant and Dixie 
Mason stood on the balcony of the Crim- 
inology Club looking down into the street 
below. Here, there, everywhere, newsboys 
were shouting the news of the declaration 
of war. From far away came the sound 
of a military band. Then, marching down 
the street, their files straight and clean, 
their arms shining brightly in the sun. 
their strong, sturdy forms showing the 
sleek-muscled strength that only American 
fighters possess, marched the crack 
Seventh Regiment of New York on its 
spring parade. Harrison Grant watched, 
his eyes gleaming happily. 

"Dixie." he said at last. "I never 
saw anything to give me so much hap- 
piness — and yet so much sorrow." 

"And why the sorrow?" She looked up 
at him quickly. 

"Sorrow — because, now that we have 
finished our work for the safety of Amer- 
ica at home, we must part. I received 
this morning my commission as a captain 
in the Army intelligence. My work will 
be abroad!" 

"And mine will be abroad, also." said 
Dixie quietly. 

Abroad? You — " 

"In the Red Cross." 

Harrison Grant laughed happily. They 
had stepped into the club rooms now, the 
heavy curtains at the window falling be- 
hind them. Grant took the hands of the 
girl he loved into his — and held them 
tight. 

"Do you know,"' and there was a strange 
little halting in his voice — "I believe I 
could make a record for myself if 1 only 
knew that — " 

"What. Harry?" 

"That — well, that there was a Mrs. Har- 
rison Grant watching my progress and — "• 

"Well 5 " Dixie was smiling. Harrison 
I rant slowly drew her toward him. 
Well?" she asked again. 

Grant stammered. 

"And — and — oh. you know what I 
mean!" And. his words failing, he iooked 
quickly over his shoulder, saw that no one 
was watching, drew the little secret service 
girl tight into his embrace — and kissed her. 
THE EXD. 



Every advertisement in r-HOTOFLAY MAGAZINE Is guaranteed. 



Photoplay Magazine — Advertising Section 



Old Hartwell's Cub 



115 



(Continued 
reached the bottom of the back staircase 
as Bill, a raging animal, burst into his 
empty room. 

Nervously Ed waited at the station. 
The train was due; why didn't Mary 
hurry? She had gone home to say a final 
goodbye to her father, after the magis- 
trate at the neighboring county seat had 
made them man and wife. 

Bill stood in Ed's room, wondering 
which way to go. The whistle of an in- 
coming train drew his attention; that was 
it: the station! He was down the stairs 
again and running. Ed saw him coming 
and waited, trembling, for the train had 
whistled at the crossing. 

In five minutes a big, angry blacksmith 
can inflict considerable punishment upon 
a smaller man. When Bill, taking Ed by 
the collar, threw him on the train, his 
suitcase after him, Mag Jones, proprie- 
tress of the Delmonico Saloon in Chico, 
Arizona, wouldn't have known her recreant 
husband if she had met him face to face. 

Bill, his rage somewhat assuaged, turned 
back to resume his quest of the minister, 
and met Mary Lane. 

Mary looked at him in horror. "Why 
did you do that?" she cried. "He's my 
husband!" 

Bill's jaw dropped; he was stunned. 
This put an entirely different face on the 
matter. "I'm sorry," he said humbly. "I 
didn't know." 

Angrily Mary turned on him. "You are 
a meddlesome boob and I hate you!" 

Sadly Bill turned away. On the ground 
lay a letter. He picked it up; it was ad- 
dressed to Ed. It must have dropped 
out of his pocket in the struggle. Silently 
he handed it to Mary. "Is — is your fa- 
ther home," he inquired. 

Tears came to her eyes. "No, and I've 
got to go without bidding him goodbye." 

Mary turned the letter over. It was 
addressed to Mr. Ed. Jones, Chico, Ari- 
zona, and in the upper left-hand corner 
was the address of a firm in Milwaukee, 
Wis. Hesitatingly she removed the inside 
sheet, and her eyes, wide and startled, took 
in the contents — 

"Mr. Ed. Jones, Chico, Ariz. Dear 
Sir: — We are shipping you the case of 
Old Time whiskey by express, as ordered. 
The balance of the order will come by 
freight as usual. Yours very truly, 

Scholberg & Company. 

Mary sat down in the station to think. 
So Ed had deceived her! He was a 
dealer in whiskey, not in bibles. Finally 
she came to a decision. She was his wife. 
She had no choice but to follow him. She 
could not face certain disgrace. She would 
board the next freight. 

Seated in the caboose of the freight, 
Mary's thought turned achingly backward. 
What a mess she had made of everything! 
But she would write to her father as soon 
as she found Ed. In the note she had 
left him she had told him of her mar- 
riage; he would know that she was safe. 

She might have been more disturbed if 
she had seen the Reverend Lane pale 
under the accusations of a delegation from 
the Ladies' Aid Society, demanding the 
money which had been in Marv's trust; 



from page 66) 

if she had heard his frantic reiteration of 
his belief that there was some mistake. 
And her heart might have received a new 
wrench had she seen Bill Hartwell come 
to the rescue of her father with a hundred 
dollars of his own savings which he in- 
formed the irate Ladies' Aiders, Mary had 
intrusted to him at the last minute. 

But Mary couldn't know these things; 
nor could she know that Bill found death 
had been before him, when he at last, with 
the minister, entered his humble home. 
Poor old Tom's raging thirst was quenched 
forever. He lay quiet and still, a quart 
whiskey bottle lying empty on the floor. 

In a little mid-Western town there was 
great rejoicing. Ed Jones had come back 
to his own — meaning his wife, Mag, and 
the Delmonico saloon. 

Back in Matherville, two lonely hearts 
were growing more troubled day by day. 
There had been no word from Mary, and, 
worn with anxiety, deprived of his daugh- 
ter's cheery smile and her tender care, the 
Reverend Lane had become but a morose 
shadow of himself. As Bill Hartwell, 
smoking his lonesome pipe of an evening, 
thought of him and the agony of his 
waiting, he came to a decision. He would 
go to the town that he remembered as 
the address on the face of the letter which 
Ed had dropped. 

A week later Bill dropped off the train 
at a junction point and was informed that 
as his train had been late, the stage had 
just left for Chico. A man, leading a 
handsome horse, walked up to him and 
queried: "Did I hear ye say ye wanted 
to get to Chico?" 

At Bill's nod, he continued, "You're in 
luck, stranger. I promised to send this 
hoss back by the noon stage, but I missed 
her, too. You can ride him to Chico. 
Turn him over to Ma — " he stopped. He 
would play a joke on the tenderfoot. 
"Turn him over to the sheriff." 

Steve Marvin was an expert horse thief, 
as well as a joker. He had stolen the 
horse a few days before, and had given 
him to Mag Jones in payment for a 
gambling debt, the night before. He had 
even given the unsuspecting Mag a paper 
to show that the horse was hers, but had 
asked permission to ride him to the train. 

The outraged owner of the horse, whose 
name was Benton, the wealthy owner of 
a cattle ranch, had taken a couple of his 
cow punchers and was already on the 
trail of the thief. Bill never got to the 
sheriff's orifice. In three hours he found 
himself on the main street of Chico, fac- 
ing the business ends of several revolvers, 
backed by a crowd of determined men. 

"Come on boys," cried one. "Let's get 
the job over before the sheriff gets back 
to town. Put him on the hoss he stole." 

Then there was pandemonium, as the 
blacksmith, fighting for his life, laid about 
him with arms like flails. Men toppled 
over like nine pins, but others closed in. 
The commotion reached the ears of the 
loungers at the Delmonico saloon, and of 
its proprietors. Ed ran to the scene of 
the fracas. Mag, with the new waitress 
whom she had hired recently, stepped out 
on the porch of the saloon. 

Struggling desperately, but overpowered, 
Bill recognized through the dust and dirt. 




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(Concluded) 



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the face of Ed Jones. With a superhuman 
effort he broke through the arms that held 
him and landed a powerful blow on Ed's 
face. Then Bill's- mighty arms were pin- 
ioned with ropes and he stood helpless. 

"Bring the hoss he stole," was the cry. 

Mag, who was used to western ways, 
held Ed's head in her arms, dabbing his 
face with water. She looked up as they 
were leading Bill away. "Is that the horse 
they say he stole?" she cried excitedly 
to the trembling girl beside her. "Stop 
them; he ain't no thief. Steve Marvin lost 
a hundred dollars to me last night in a 
poker game and he give me that horse; 
there's the paper to prove it." She pulled 
Steve's written receipt from her bosom. 
"Can you ride? Go after them!" 

The new waitress — Mary Lane — needed 
no urging. She had recognized Bill. 
Snatching the paper she ran toward a 
saddled horse that stood hitched at a 
post. 

Mary Lane had finally trailed Ed to 
Chico; and a few weeks before had caused 
his knees to falter by appearing abruptly 
before him and demanding her money; 
aiso her husband. When found out that 
Ed was already married, so that her union 
with him was void, her relief was so 
great that she lost all desire to punish 
him. She told him, however, that she had 
no intention of returning to Matherville 
without her money. Ed had replied that 
he couldn't give it to her, a vivid picture 
of Mag in his mind as he spoke. For Mag 
was the business woman of the sketch 
and had a thorough understanding of his 
little weaknesses. The indomitable pro- 
prietress of the Delmonico saloon was all 
that such an executive should be as all 
the saloon loungers were well aware of. 
So Ed shook his head at Mary's 
ultimatum. 

"I must have that money before I go 
back," Mary impressed on him, "or I will 
go to Mag with the story." 

Ed, in a panic, had agreed to have her 
hired as a waitress, and pay her wages 
until she could earn her return fare home; 



and in the meantime he would make an 
effort to get the hundred dollars for her. 
To this Mary was forced to consent. 

Now, all thought save that of Bill's 
rescue, left her. She remembered his 
strength and gentleness with a remorseful 
thrill; she knew that it must have been 
in search of her that he had placed his 
life in jeopardy. 

Desperately she rode, but the men kept 
well ahead of her. If it had not been for 
Benton's delaying efforts to force a con- 
fession of guilt from Bill, she would have 
been too late, after all. 

As it was she dashed up to them, the 
paper clutched high in her hand, just as 
Benton, angered by Bill's fourth refusal 
to confess, had raised his whip to strike. 
Bill sat on a horse, a rope knotted around 
his neck, the other end of which swung 
over the branch of a tree above him. When 
the whip descended upon the horse's glos- 
sy flank, Bill would die. 

"Stop!" screamed Mary. "He is not 
the thief! Stop, I say!" 

Benton lowered his whip. "Here is what 
Steve Marvin gave Mag last night," gasped 
the girl, thrusting forward the paper. "Mag 
saw the horse; she says it's the same. Oh, 
Bill!" 

The men dropped the rope and crowded 
around Benton, who, with a puzzled frown, 
was spelling out the words. Bill, with the 
rope still dangling from his shoulders, had 
clasped Mary in his arms. In broken, 
breathless sentences, she was explaining. 

"Well, this looks regular," said Benton, 
at last. "Boys, guess we've made a mis- 
take. Young lady, you was just in time." 

Neither Mary nor Bill seemed to hear 
him. Mary's slender fingers were tugging 
at the knots. "Here, we'll undo that," and 
Benton stepped forward. Then, quizzical- 
ly, to Mary, "You've saved his life, Miss. 
Accordin' to custom you ought to marry 
him." 

Bill paid attention, then. 

"Is there a preacher handy?" he asked 
earnestly. "Because we want to get mar- 
ried before the next train home." 



The Four Doors 



that did not belong to 
Norma Talmadge in "Martha's Vindica- 
tion." 

Coming down to making an audience 
think a director usually has his stories 
divided into two general classes. They 
may present the divorce problem or that 
of the eternal triangle or any one of the 
other big situations which the average in- 
dividual may be confronted with in his 
own life. Such stories run along contin- 
ually. Their effectiveness as thought-pro- 
ducers depend on the art of the director, 
for their presentation has rung all the 
changes from cheap sensationalism to the 
pinnacle of camera genius. 

The other type of story is that which 
submits a problem which is of paramount 
interest at a particular time. The world 
war has produced many of these such as 
"Hearts of the World" and Gerard's "My 
Four Years in Germany." Their value 
lies in their timeliness primarily. People 
rush to see them because they deal with a 
subject which is uppermost in the public 



(Concluded from page 6o) 
her and so did mind. Such was "Lest We Forget," and 
"Over the Top." 

The exception proves the rule again. A 
great director of course knows no limita- 
tions, either in inspiring thought or any of 
the other emotions. Griffith, who holds 
all of the master keys to the emotions of 
the screen, took a problem which was 
settled for all time and made it the theme 
of the greatest picture in the world, "The 
Birth of a Nation." The slavery question 
had been a closed book for years. There 
was no reason for reviving it. 

Griffith, of course, holds some pass- 
keys to the heart of the public which have 
never been duplicated. But many direc- 
tors possess others which always fit the 
lock in opening the gates of laughter and 
tears, thought and fear. 

And, just as the men of early days re- 
warded the player of the magic reeds in 
wives, honey and oxen, those of modern 
times have repaid these wizards "of the 
screen in the neatly engraved currency of 
the times. 



Every advertisement in PHOTOPLAY MAGAZINE is guaranteed. 



Photoplay Magazine — Advertising Section 

Charles, Not Charlie 

(Concluded from page 83) 
I laid awake nights thinking location, in Central California, during one 



117 



surprise 

out how to come through that door. I 
jumped out of bed at two and three in 
the morning, jotting down ideas. I took 
long walks at midnight, thinking, think- 
ing, thinking. I shunned my friends be- 
cause they broke up my concentration. 
And did I finally get it? I did not! After 
three weeks, and ten actual takes, I cut 
out the whole episode because the prob- 
lem simply couldn't be solved." 

I know this, too: Charles threw away 
five weeks' work on "A Dog's Life" be- 
cause none of it satisfied him. 

He wants to produce serious photoplays 
— sometime. He wants to put himself 
into other, and real, characters-— some- 
time. He says so. He says he is in no 
hurry about either undertaking. 

Chaplin is not an educated man, in the 
collegiate sense, nor is he illiterate. He 
talks with the clean, well-bred speech of 
an Englishman, and his new Hollywood 
studio, perhaps the daintiest, most artistic 
filmery yet built, reflects the innate taste 
and refinement of a man slowly rising to 
self-won culture after early vicissitudes 
and almost no schooling. 

He wears the unostentatious attire of 
good breeding, always. He is not a fash- 
ion plate, but sport shirts, puttees and 
queer hats are unknown to him. 

If he has love affairs they do not muss 
up the morality of the community nor 
permeate his workshop. He is a great 
favorite among men in Los Angeles, and 
most of his men friends are sincerely 
wondering whether he really has "a girl." 
He is not married. I don't think he will 
ever marry. 

The most fun he had this year was on 



of the winter months. He was for three 
days barracked with an elderly couple of 
kindly disposition, an adoration for mo- 
tion pictures, and no knowledge that their 
visitor — whom they called "Sonny" and to 
whom they gave solemn advice about sav- 
ing his small wages — was Charles Chaplin. 
He still corresponds with the old man. 

He is a very good business man. His 
money is well invested. His charities are 
carefully chosen, but they are tender and 
absolutely under cover. An actor died 
suddenly in Los Angeles last winter, 
leaving — fortunately — no debts, cash in 
the bank to pay all immediate expenses, 
and property enough to take care of his 
family until his children reached maturity. 
Or so it seemed. I am one of three peo- 
ple who know that the poor fellow had 
squandered all he made, had $2.67 in cash, 
no insurance, and owed half the trades- 
men in town. Charles Chaplin righted all 
this, and not even the widow knows! 

Charles Chaplin's one bitterness is that 
covert, sneering accusation that he is a 
draft-dodger. As a matter of fact, he 
stands ready for any service, but has never 
been called and is of such physical frailty 
that he would probably be rejected by the 
first board that looked him over. His 
purchases of British and American war 
bonds are considered bits of important 
money even by governments now trained 
to think only in billions. 

Chaplin and I were quite pals until, one 
evening, I told him that I was returning 
East, and, at some convenient time, would 
like to have a little talk for publication. 

I haven't seen him since. He seemed to 
avoid me after that. 



The Photoplay League of America 

(Concluded from page 75) 



son, in print and in conversation, give the 
united, organized, powerful boost to every 
picture that is clean, intelligent, progres- 
sive and all-American, and it will eternally 
chase the other kind with a big stick, a 
trench bomb and the editorial bayonet. 

While the great tide of motion picture 
commercialism has been sweeping over 
the United States these half dozen years 
the "Better Film" workers, toiling inde- 
pendently in many cities and towns, have 
realized that the film is here to stay, and 
have begun a course of substitution — con- 
structive work. 

The Photoplay League of America is, 
at last, the national organization of these 
staunch and far-seeing pioneers. Its de- 
mand in pictures is a triangle — cleanli- 
ness, artistic intelligence, Americanism. 
Local chapters of the League are being 
organized today, from Coast to Coast. 
And these chapters, united, are the real 
voice, the true voice of these American 



United States going down to the great 
city of New York and demanding clean 
truth and patriotism and more inspiration 
and less factory product. 

There is a spirit behind this big move- 
ment which makes it as portentous a 
thing artistically as America's unanimous 
concert for free democracy is politically. 
Get in the band-wagon for clean pictures, 
intelligent pictures, pro-American pictures 
— or stay out with the gross and grasping 
artistic Huns who have long enough defiled 
the screen. This is no personal boost, no 
commercial scheme, no covertly endowed 
propaganda for any manufacturer. It is 
a crusade for your own future happiness, 
for the mental health of your children, for 
the glorious artistic Tomorrow of the 
greatest country on earth. 

Next month we will give you news of 
the League's rapid progress, tell you of 
the great personalities behind it, list its 
officers, disclose its immediate plans. 






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explanation, "but on the day of shipment Russian affairs became muddled. Now 
they're holding the order, as there are so many governments that the whole shipment 
would only give one sack to each government." 



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Questions and Answers 

{Continued from page 109) 



M. M. M., Detroit, Mich. — We're always 
saying things about Mary Miles Minter that 
her admirers should like. You watch Photo- 
play. 



A. C, San Francisco, Cal. — William Jef- 
ferson, the son of Joseph Jefferson, is the 
husband of Vivian Martin. Louise Huff was 
born in 1895. Mr. Louise Huff is Edgar 
Jones, the director. Tom Forman enlisted. 
You're all wrong about Mary Pickford. 
She's married and has never been divorced. 
No new developments in "The Return of 
Blanche Sweet." Mae Marsh is single. So 
is Mary Miles Minter. Bobby Harron was 
born in 1894. Charlie Ray a woman hater? 
For why ? 



S. P., Ontonagon, Mich. — Eugene O'Brien 
can be reached at the Royalton, New York 
City. What shape is ontonagon? 



Simon, Denison, Texas. — "Just a Wom- 
an" is a very new picture in which Char- 
lotte Walker is the featured player. It 
should reach your state shortly. Ask your 
local theater manager about it. Ruby de 
Remer is on the legitimate stage. 



Ethelyn, Oakwood, Mo. — Mary Pick- 
ford's eyes are hazel. We'll speak to Mr. 
Pompeian about the mistake of having her 
eyes blue in the advertisement for his cream. 
Kathlyn Williams is Mrs. Charles Eyton in 
private life. Earle Williams, Beverly Bayne 
and Naomi Childers are single. The wives 
of the people you mention are non-pro- 
fessionals. 



R. E., Hamilton, Ontario. — Try your 
luck at securing the photo of Jack Holt. 
Communications reach him at the Lasky 
studios, Hollywood, Cal. 



Dolly Dimples, West Fort William, 
Canada. — Address Mae Marsh at Goldwyn; 
Jackie Saunders, Balboa; Anita Stewart, 
Vitagraph; May Allison, Metro (west); and 
Viola Dana, Metro (east) ; Shirley Mason, 
Lasky (east); Madge Evans, World; Lillian 
and Dorothy Gish, Artcraft. Better send 
them each a quarter so that they will be sure 
and send you the photos. Address Baby 
Marie Osborne at the Pathe studio, Los 
Angeles; Mary McAlister, last known ad- 
dress Essanay, Chicago. Bobby Connelly, 
Metro (east). Margery Wilson doesn't tell 
her age, but she's not very old. 



Wilbur, Amarillo, Texas. — It's nawfully 
nice of you to want to know all about us, 
but, old top, there ain't nothing to it. To 
us, rather. Yes, we love fudge. Your intui- 
tion is remarkable. 



Signor, Silver Creek, N. Y. — Harry 
Beaumont is directing pictures for the Selig 
Polyscope Co. The Bushman divorce hasn't 
been granted as this is written. John Bow- 
ers played opposite Mary Pickford in "The 
Eternal Grind." 



A. P. D. I., Meridian, Miss. — The Paralta 
Corp. was organized in 1917. Frederick 
Chapin is the author of "The Turn of the 
Card." Impossible to name all of the Vivian 
Martin pictures, but some in which she has 
appeared are: "A Modern Thelma," "Her 
Father's Son," "The Right Direction," "The 
Wax Model." "Forbidden Paths," "Little 
Miss Optimist," "A Kiss for Susie," etc. 



J. W., Superior, Wis. — "Patience Spar- 
hawk," the picture, is adapted from a well 
known novel. Mighty glad you like our 
and ours so much. 



Marie, Carroll, Iowa. — You will have 
to send direct to the stars for their photo- 
graphs. We deal only in answers. 

H. K., Kokomo, Ind. — Just as soon as 
there is a vacancy in a studio wanting a 
leading lady with no experience we'll let 
you know. But don't watch every post too 
carefully for that contract. 



S. R., St. Paul, Minn. — Absolutely no 
connection between us and any film com- 
pany, so your letter asking for a position 
would be of no avail here. Try some studio 
if you've made up your mind that you are 
destined 10 be the very largest and brightest 
planet in the bevy of flickering stars. 



Geraldine C, Hastings, Mich. — So far 
as we know Olive Thomas has no relatives 
in your city. Mary Miles Minter was about 
thirteen when she played in "Barbara 
Fritchie." We can't help you about those 
photos but suggest that you write again to 
Miss Farrar, at the Goldwyn studios in Fort 
Lee, N. J. We think she'll send you one. 
Try the others again, too. We're sorry, little 
girl, that your first letter didn't reach us, and 
we're glad that you wrote again. Was it 
worth the trouble? Address Vivian Martin, 
Lasky studios, Hollywood. Fannie Ward, 
Pathe; Louise Huff, World Film. 



E. I., Oakland, Cal. — Eileen Percy played 
with Doug in "Down to Earth." Eileen is 
now with Bluebird, and may be addressed at 
Universal City, Cal. Yes, and that's just 
what we're going to say — don't believe all 
you hear. Don't and you won't have to ask 
us such questions. The actors don't use 
green paint — it's just the studio lights that 
make it look that way. If everybody wrote 
as clearly as you, the Answer Man wouldn't 
have to work nights. Sure, write again. 



E. E., Canada. — Your letter was somehow 
mislaid, which does not, however, excuse 
the loss of time in answering it. We can only 
say we're sorry, and hope you spent your 
honeymoon in some equally attractive part of 
the country. That picture was, we believe, 
"shot" in New York and Florida ; the scenes 
which pleased you so much doubtless in the 
latter place. Again, we are sorry; and hope 
you will write to us again. Our best wishes 
to you. 



Aurora Borealis, Laciiine, P. I. — Greet- 
ings, Aurora. Gettin' used to this hour 
earlier business? Pedro de Cordoba was 
Escamillo in the Lasky "Carmen"; Dorothy 
Kelly and Harry Morey in "The Law De- 
cides." Lionel Barrymore not in that pro- 
duction. Lillian Walker. Don Cameron and 
Jewel Hunt in "Kitty Mackay" and Lillian 
Walker, Don Cameron, Thomas Mills and 
Eulalie Jenson in "Sally in a Hurry." 



Ponce, Shreveport, La. — Well, of course, 
you never can tell, but we don't believe 
Charlie Chaplin would deliberately "pinch" 
your bucks worth of stamps. Yes, 'tis true 
that he built a new studio and that it cost 
a lot of money, and a dollar is a lot of 
money, but before claiming ownership on 
account of said dollar you better write 
Charlie and ask about the picture you sent 
for. 

E. J., Hanford, Cal. — Jack Pickford and 
Olive Thomas were married in the fall of 
1917. Mary Miles Minter will answer your 
letter. She's with American company at 
Santa Barbara, Cal. No we haven't any 
freckles and haven't a remedy for remov- 
ing same. Edgar Jones is married to Louise 
Huff. Jack Pickford is twenty-one and 
Olive Thomas Pickford, twenty. 



Every advertisement in PHOTOPLAY MAGAZINE Is guaranteed. 



Photoplay Magazine- 

Questions and Answers 

(Continued) 



-Advertising Section 



Mary Jane, Madison, Wis. — Hail ! Har- 
old Lockwood has a wife who is a non-pro- 
fessional. Theda Bara is five feet, six inches 
tall, or as high as you measure it. George 
Walsh is the husband of Seena Owen. 



Virginia S., Detroit, Mich. — Wallace 
Reid is twenty-eight. Kitty Gordon was 
born in 1881. She is married to the Hon. 
H. H. Beresford. Marguerite Clark is 
thirty-two and is unmarried. 



A Cornstalk, Wellington, N. Z. — Why- 
fore the silence? Tom Forman was divorced 
a year ago. Arthur Ashley and his wife are 
separated. John Junior appeared in Essa- 
nay pictures for quite some time. George 
LeGuere doesn't give his age. Remember, 
we do not tell the religious beliefs of the 
players. 



Dot, Holyoke, Mass. — Sombudda didn't 
know. The picture you inclosed is of Vivian 
Martin, not Mary Pickford. George Stuart 
Christie played with Emmy Wehlen in 
"Sowers and Reapers." Harry Benham op- 
posite Alma Hanlon in "When You and I 
Were Young." 



E. P. F., Oakland, Cal. — The addresses 
for which you asked follow : Olive Thomas, 
Triangle; Marguerite Clark, Famous Play- 
ers; Richard Barthlemess, Goldwyn; Ethel 
Clayton, Lasky (western) ; Eugene O'Brien, 
Norma Talm^dge Company ; Pauline Cur- 
ley, Metro (western); Lillhn and Dorothy 
Gish, Artcraft (western). Marguerite Marsh 
is a sister of Mae Mar»h. She was known 
in the Biograph days as Marguerite Lover- 
idge and later as Lovey Marsh. 



Olive Thomas Admirer, Sonora, Cal. — 
Olive Thomas has blue eyes and brown hair. 
She's the wife of Jack Pickford, is five feet, 
three inches tall, and we are sure she would 
be very glad to hear from you. 



P. B., Sydney, Australia. — We send your 
letter on to Dorothy Dalton at the Ince 
studios, Hollywood, Cal. Paramount is 
merely an exchange through which a num- 
ber of companies release their pictures. The 
Artcraft, Famous Players, Lasky, Morosco, 
Select, are all Paramount companies. 



Polly Ann, New York City. — Nell Craig 
was born on the 13th of June, 1893. She is 
no longer living in Chicago, but at the Astor 
Hotel in New York City. Louise Huff was 
born on the 14th of November, 1895. Fran- 
celia Billington on the 1st of February, 
1896, and Ora Carew, April 13, 1805. The 
others you mention do not give their birth 
dates. 



Miss Carey, Portland, Ore. — Mary Pick- 
ford is the highest salaried motion picture 
actress in the world. Charlie Chaplin re- 
ceives more than any other male star. Bev- 
erly Bayne is not married. She's twenty- 
three. Constance Talmadge is twenty; 
Norma twenty-three. You're quite right. 
they are not twins. Elsie Ferguson is mar- 
ried to Joseph Clark, Jr. Bill Hart has been 
in pictures since the first day of May, 1914. 
Charles Chaplin since January, 1914. 



M. J. Greene, Indianapolis. — The Fair- 
banks Twins are sixteen or seventeen ; now 
in the Follies. They used to play for 
Thanhouser. Elsie Janis is Over There now, 
entertaining the soldiers, so there is little 
possibility of her making more pictures for 
some time to come. Hazel Dawn is to be 
featured next season in a new talkie. Ina 
Claire is "Polly with a Past" in New York; 
and Irene Castle has followed Elsie Janis 
abroad to dance in the behind-the-lines the- 
atres. Mrs. Castle's pictures are still be- 
ing released by Pathe. "The Mysterious 
Client" is one of them. Margaret Mower 
has never appeared on the screen so far 
as we know. There will be no more "Bab" 
stories until Nigel Barrie, who played "Car- 
ter Brooks," and who is now with the 
Royal Air Force, comes home from war. 
You will see an item in Plays and Players 
about him. Louise Huff has signed a con- 
tract to appear in World Pictures. Anita 
Stewart is acting again for Vitagraph. 
Marilynn Miller and Rosie Quinn have 
never been screened. Marion Davies is mak- 
ing photoplays for Select and has left the 
stage for a year at least. Violet Zell, the 
dancer, is not the wife of Fred Stone. Mrs. 
Stone was Aileen Crater. The Stones have 
several children. The family has gone west, 
where Stone is making pictures for Para- 
mount. Marquerite Clark has an apartment 
in Manhattan and a country place on Long 
Island. The latest Clark interview was 
"Grand Crossing Impressions" in the July 
issue. Whew ! Wr-write again, M. J. 
(Continued on page 120) 



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Marine Band. Second Prize, $5.00 — Miss Mary Mix, Bowling Green, Mo. 
Third Prize, $3.00 — 1st. Lieut. George L. Maxwell Jr., U. S. Marine Corps, 
Quantico, Va., nth Regiment, Headquarters 1st Battalion, Marine Barracks. 
Fourth Prize, $2.00 — Edith L. Ritter, 1419 Columbia Road, N. W., Washing- 
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Wohlforth, 47 Nichols Street, Seymour, Conn. 



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120 



H. M. G., Iowa. — Charlie Chaplin is still 
in the movies. The Fairbanks Twins are 
now in Ziegfeld's Follies. Cast of "Fram- 
ing Framers" (Triangle) follows : Gordon 
Travis, Charles Gunn; Ruth Westphal, 
Laura Sears; Herman Westphal, George 
Pearce; Sylvester Brandon, Edwin Mar- 
tin; Grace Garwood, Mildred Deliino; 
Lonnie Gorman, Lee Phelps; John Camer- 
on, Arthur Millet; Westphal 's Thugs, Leo 
Willis, Verne Peterson. 



M. B., Kankakee, III. — We disremember 
whether or not Marguerite Clark sends her 
pictures free; but advise you to write again 
— you know Miss Clark has been very busy 
working for the government in the Loan 
campaigns and your letter may have ar- 
rived while she was absent. It is always 
better to send twenty-rive cents when ask- 
ing for pictures; but May Allison, we be- 
lieve, sends hers gratis. They do say that 
May was born on a Southern plantation, 
being a member of the F. F. S. (First 
Families of the South.) Miss Clark has 
one sister, Miss Cora Clark. She was born 
in Cincinnati. If you're waiting anxiously 
for the next issue of Photoplay, I'll have 
to let this suffice. In other words, maga- 
gines have to go to press and this is all 
for you, Margaret. 



Lou Messing, N. Y. C. — Glad you've de- 
cided to come on in. We are "witty, but not 
at the expense of facts?" Oh Lou! But 
we try to tell the truth, and it isn't so 
hard. Try it sometime. George Walsh is 
twenty-six; he used to play football in his 
college days. Eugene O'Brien is thirty- 
four; six feet tall; weight one hundred and 
sixty. Yes, he's wonderful — aren't you 
'Gene? He was born in Denver and he 
speaks pure Dublin Irish. Have I crowned 
your initial attempt with success, Lou? 
There is nothing so wonderful as the knowl- 
edge that you have done your best ; that you 
have perhaps, lessened a little the burden 
of a fellowman. Gee — it's twelve-thirty ! 



M. D., Barry Ave., Chicago. — Lou Tel- 
legan was born in Athens, Greece, in 1881. 
Carlyle Blackwell was Mary's leading man 
in "Such a Little Queen," but Harold Lock- 
wood had a part in it too. Lockwood is 
married. Marguerite Clark is thirty-three. 



Admirer, Mitchell, S. D. — You had 
your pictures of Doris Lee, with a story 
about her, in the August issue. Hope you 
liked it. It's mighty nice of you to ad- 
mire the style in which we arrange our 
magazine. We are never bored — and we 
hope therefore never to bore anyone. As 
Julian Johnson remarks, "girls — like flowers- 
and sunsets and things — have needed no 
added charms for centuries." Or, as John 
Keats said, a thing of beauty is a joy for- 
ever. But did you know that that poem of 
his ended with something about — "or we 
die?" It's awfully sad. 



M. Henderson. — Yours is the kind of a 
letter we like. Somebody said once that 
you are least yourself when you talk in 
your own person; with a mask you tell the 
truth. Maybe that's why the Answer Man 
ventures an opinion occasionally. Our pri- 
vate stenographer does not grin when we 
dictate these answers; but often she weeps. 
We refuse to become involved in a con- 
troversy as to Bara's birthplace, merely re- 
iterating from our mask that Bara was born 
in Cincinnati. F. X. B. has indeed five 
lovely children. Ethel Barrymore Colt has 
three. Blanche Sweet is back, and House 
Peters is her leading man in her first pic- 
ture. Myrtle Stedman is on the stage now. 
Please -write again. 



Photoplay Magazine 
Questions and Answers 

{Continued from page up) 

Irene F., 14; the Bronx — No; we can't 
tell you about ourself. "Know thyself" is 
the first lesson in life; but we have never 
learned it. Nazimova was born in Russia; 
she is in the early thirties. She has dark 
hair and eyes. Elsie Ferguson has blue 
eyes and light hair, not red. Write to them 
for pictures — Miss Ferguson care Artcraft ; 
Nazimova care Metro., N. Y. Geraldine 
Farrar, we believe, always sends pictures 
on request. Milton Sills doesn't tell his 
age. The he-stars are as bad as the ac- 
tresses on ages, if not worse. It is unwise 
for a woman to tell her exact age — it al- 
ways looks so calculating. Nazimova at 
this writing is doing "L'Occident," from the 
Belgian masterpiece; but the name will 
probably be changed for public consump- 
tion. Her second Metro was called "Toys 
of Fate." Elsie Ferguson has not confided 
to us the figures on her weekly checks; per- 
haps if you wrote to her — ■ 



H. W., Murphysboro, III. — Kenneth 
Harlan played opposite Dorothy Dalton in 
"The Flame of the Yukon." Mr. Harlan is 
unmarried. Montague Love hasn't a wife. 
Send your letter to him in care of the World 
Film Corp., Fort Lee, N. J. Jack Holt is 
with the western Lasky company. That was 
Elliott Dexter with Mary Pickford in "A 
Romance of the Redwoods." Subscription 
rate for Photoplay in the U. S. is two dol- 
lars a year. 



M. B., Macogloche, Tex. — John Bow- 
ers doesn't give his age, but we should say 
it was about thirty-three. He married a 
non-professional. His first wife was Beulah 
Poynter. He is not going to war so far 
as we know. He is six feet tall, dark-haired 
and dark-eyed. Douglas McLean played 
opposite Vivian Martin in "A Fair Bar- 
barian," and Gail Kane in "The Upper 
Crust" for Mutual. He will be seen in 
Dorothy Gish's first Paramount. Mary Mc- 
Alister is not with any company at the pres- 
ent time. Photoplay will announce her new 
affiliation. She is eight years old. Following 
is the cast of "The Blue Bird" : Tyltyl, Robin 
MacDougall; Mytyl, Tula Belle; Daddy 
Tyl, Edwin E. Reed; Mummy Tyl, Emma 
Lowry; Gaffer Tyl, Wm. J. Gross; Granny 
Tyl, Florence Anderson; Berlingot, Edwin 
Elkas; Berlhigot's daughter, Katherine 
Bianchi; Fairy Berylune, Lillian Cook; 
Light, Gertrude McCoy; Night, Lyn Donel- 
son; Dog, Chas. Ascot; Cat, Tom Corless; 
Fire, S. E. Popavitch ; Water, Mary Ken- 
nedy ; Milk, Eleanor Masters ; Sugar, Chas. 
Craig; Bread, Sam Blum. 



E. K, St. Paul, Minn. — There is nothing 
at all mysterious about us, except perhaps 
that we admit it. But thirty-five is a very 
attractive age; we intend to remain thirty- 
five for years and years, once we have at- 
tained it. We are always afraid to let 
anything go for fear someone else may pick 
it up. Elsie Ferguson's hair is light. It 
must be quite dreadful to fight over the 
color of an actress' hair. Sessue Hayakawa 
now has his own company. We have not 
printed your alias for obvious reasons. No, 
the Answer Man didn't fall over when he 
read the list you wanted; merely stifled a 
sigh and thought and thought. We think 
for ourselves always; if we didn't nobody 
would. Here you are: David Powell, Se- 
lect; Edna Goodrich, Mutual; Gail Kane, 
Ivan; Fatty Arbuckle, Balboa Studios, Long 
Beach, Cal. ; Robert Warwick, now Capt. 
Warwick, Over There; Lenore Ulrich, Bel- 
asco theatre, N. Y. ; Hazel Dawn, Amity- 
ville, L. I.; Anne Little, Lasky; Jackie Saun- 
ders, Balboa; Conway Tearle, Vitagraph ; 
Charles Ray, Ince; Eugene O'Brien, Select. 
Jean Sothern is not playing now. 



Margaret, Watertown, Wis. — If Mar- 
guerite Clark were as old as she looks she 
would be about twenty. Miss Clark is 
really thirty-three. Write to her care Famous 
Players, N. Y. Yes, I think I ' know her 
secret — it's very simple to say, but not so 
easy to put into practice. Marguerite Clark 
never worries. No situation or circum- 
stance is too difficult for her to smooth it 
over with a smile. And Marguerite, at thir- 
ty-three, looks twenty. Think it over. 



McDonald's Admirer, Mobridce, South 
Dak. — Francis McDonald is married, but 
don't let that interfere with your liking him. 
Practically all of the film stars are married, 
you know. Mr. McDonald has been in pic- 
tures for a little over two years. 



E. M. B., San Antonio, Texas. — Haven't 
the name of the last picture in which Harry 
Gwynn appeared. Art sorrowful about his 
enlisting ? 



Billy Blue Gum, Sydney, Australia. — 
If you are a bad penny we're welcoming 
you just the same. Thanks a great deal for 
the flannel daisy. We don't grow them here 
and we've never seen one before. We Amer- 
icans are just as strong for you Australians 
as you are for us, so it's a fifty-fifty propo- 
sition. 



Pearl's Pal, Plainfield, N. J. — Oh girl, 
you are fickle ! Mollie King's hair has re- 
mained the same color — reddish blonde — 
ever since we've known her. That color hair 
often photographs dark, so that undoubt- 
edly accounts for your thinking that she had 
changed the color of her top piece since the 
taking of the picture you possess. Warner 
Oland was born in 1880. He is five feet, 
eleven inches tall. Henry Gsell was born in 
1889. He's five feet, three and one-half 
inches tall. By all means send Pearl White 
the poem you have written about her. 



R. M., South Glen Falls, N. Y.— The 
entire cast of "Intolerance" is a long one : The 
Woman Who Rocks the Cradle, Lillian Gish; 
Miss Mary Jenkins, Vera Lewis; Jenkins, 
Sam De Grasse; The Girl of the Modern 
Story, Mae Marsh; The Girl's Father, Fred 
Turner; The Boy of the Modern Story, Rob- 
ert Harron; Mary Magdalene, Olga Grey; 
Catherine de Medici, Josephine Crowell; 
Charles IX, Frank Bennett; Henry of Na- 
varre, W. E. Lawrence; Due d'Anjou, Max- 
field Stanley; Admiral Coligny, Joseph 
Henaberry; Brown Eyes, Marjorie Wilson; 
The Father of Brown Eyes, Spottiswoode 
Aitken; The Lover of Brown Eyes, Eugene 
Palette; The Foreign Mercenary Soldier, A. 
D. Sears; The High Priest of Bel, Tully 
Marshall; The Mountain Girl, Constance 
Talmadge ; The Rhapsode, Elmer Clifton ; 
Prince Belshazzar, Alfred Paget ; Naboni- 
dus, Carl Stockdale; Attarea, Seena Owen; 
A Friendless One, Miriam Cooper; The 
Musketeer, Walter Long; The Bride of 
Cana, Bessie Love; The Policeman, Tom 
Wilson ; The Governor, Ralph Lewis ; Cyrus, 
George Siegmann ; The Mighty Man of 
Valor, Elmo Lincoln ; Second Priest, George 
Beranger; Bridegroom of Cana, George 
Walsh. 



Babe, Braddock, N. D. — Geraldine Far- 
rar is thirty-five. Norma Talmadge, twenty- 
three; Anita Stewart is married to Rudolph 
Cameron. Norma Talmadge's eyes are 
brown. Alan Forrest played with Mary 
Miles Minter in "Charity Castle." The pic- 
tures you speak of are tinted. Aw gwan, 
sure we forgive you. "A Bit of Jade" was 
released a number of months ago. We live 
in Chicago. 



Photoplay Magazine — Advertising Section 



121 



Questions and Answers 

{Concluded) 

Alice C, St. Louis, Mo. — Henry Gsell 
was with Pathe. He is 29 years old. Mah- 
lon Hamilton wont tell whether he's mar- 
ried or not or how old he is. Some of the 
players you mention answer letters; others 
don't. Try them and see. But I would 
never attempt to tell you what you should 
read. Your education depends on what you 
shouldn't read. 



Mary Thurman Admirer. — Mary Thur- 
man is 24 years old. She is five feet three 
inches tall and tips the scales at one hun- 
dred and twenty-three. She has chestnut 
hair and gray eyes. She is a wonderful 
girl; yes. We have never met Miss Thur- 
man, but while there is life and the Santa 
Fe is in high we hope to meet Miss Thurman. 



Grace, Wapakoneta, Ohio. — Address 
Harold Lockwood care Metro, Hollywood; 
Wallie Reid care Lasky, Hollywood; 
Charles Ray care Ince; Bryant Washburn 
care Paramount. Cullen Landis played 
Tommy Hale in Kathleen Clifford's Balboa 
serial, "Who is Number One?" Landis is 
now Billie Rhode's leading man. Glad you 
like us; write again. 



A. J. Brauer, Chicago. — The players you 
mention are all American, with the single 
exception of Antonio Moreno, who is a 
native Spaniard, but who is somewhat 
Americanized now. Some players send their 
pictures free upon request ; others ask 
twenty-five cents to cover cost of mailing, 
etc. Seems to me you folks should know 
that by this time ; we have said it over 
and over again. Mary Pickford, Pearl 
White, the Gish sisters, Douglas Fairbanks, 
and Bill Hart are a few who ask no charge 
for photos. Yes, August — it is usually hot 
in Chicago. 



Eva G., Aus. — If you are aching to have 
your questions answered, we have just been 
aching to answer them. The fact that you 
have refrained from writing out of compas- 
sion for our age, and thinking if you were 
patient you might find the answers in the 
magazine, touched me to the heart. They 
say the only difference between journalism 
and literature is that journalism is unread- 
able, and literature is unread. But I never 
could understand women — or wouldn't if I 
could. William Collier, Sr., is on the speak- 
ing stage in "Nothing but the Truth." Next 
season Collier will play in "Nothing but 
Lies." I should say the first play was the 
more interesting. Willie, Jr., whom you 
liked in "The Bugle Call," an old Ince fea- 
ture, has not been on the screen since he 
made that memorable film. The Collier kid 
and Anna Lehr did great work in it, didn't 
they? Miss Lehr's latest is "Men," with 
Charlotte Walker ; and a new problem pic- 
ture with House Peters. Lack of space 
forbids the entire cast of "Intolerance," but 
here are the leading characters : Babylonian 
period : The Mountain Girl, Constance Tal- 
madge; The Rhapsode. Elmer Clifton; 
Belshazzar, Alfred Paget ; Princess Beloved, 
Seena Owen; Cyrus, George Siegmann ; 
French period : Brown Eyes, Margery Wil- 
son; Her lover, Eugene Palette; Chas. IX, 
Frank Bennett ; Catherine de Medici, Jose- 
phine Crowell; Father of Broun Eyes, 
Spottiswoode Aitken ; Biblical : Mary Mag- 
dalene, Olga Gray; Mary the mother, Lil- 
lian Langdon ; The Bride of Cana, Bessie 
Love ; Modern Episode : The Girl. Mae 
Marsh; The Boy, Bobby Harron; A Friend- 
less One, Miriam Cooper; The Musketeer 
of the Slums, Walter Long; Jenkins, Sam 
de Grasse; His sister, Vera Lewis; The 
Kindly Policeman, Tom Wilson; The 
Woman who Rocks the Cradle, Lillian Gish. 



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122 



Photoplay Magazine — Advertising Section 




The Greatest Mother in eWorld 



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ing no favorite, yet favoring all. 

Ready and eager to comfort at a time 
■when comfort is most needed. Helping the 
little home that's crushed beneath an iron 
hand by showing mercy in a healthy, hip 
man way; rebuilding it, in fact, with stone 
on stone; replenishing empty bins and 
empty cupboards; bringing warmth to 
hearts and hearths too long neglected. 

f~ Seeing all things with a mother's 
I sixth sense that's blind to jeal' 
ousy and meanness; seeing men 



r 



in their true light, as naughty children — 
snatching, biting, bitter — but with a hid' 
den side that's quickest touched by mercy. 

Reaching out her hands across the sea to 
No Man's Land; to cheer with warmer 
comforts thousands who must stand and 
wait in stenched and crawling holes and 
water-soaked entrenchments where cold 
and wet bite deeper, so they write, than 
Boche steel or lead. 

She's warming thousands, feeding thou- 
sands, healing thousands from her 
store; the Greatest Mother in the 
World— the RED CROSS. 




Every Dollar of a Red Cross War Fund goes to War Relief 

FOR THE WINNING OF THE WAR 
This space contributed by Photoplay through the Division of Advertising of the U. S. Committee on Public Information 



Everj adTertisement in rHOTOI»LAY MAGAZINE is guaranteed. 



ZD 




IngtQm's 

MilKnGed 

Ct&am 

Close your eyes and imagine yourself 

with a soft, satiny-smooth complexion 

free from the slightest imperfection and 

colorful with health. That can be a 

true picture of yourself if you will take 

the proper care of your skin constantly. 

The steady use of Ingram's Milkweed Cream has helped 

thousands of women to gain new charm or to regain 

beauty fast fading because of neglect. It cleanses the 

tiny pores, softens the delicate texture of the skin, and 

guards you from the bad effects of wind, and sun, and the 

dust-laden air. It has an exclusive therapeu'ic quality 

that tones up the skin and keeps the complexion in a 

healthy condition. Get a jar today at your druggist's. 

Buy It in Either 50c or $1.00 Size 




/ use Ingram 's Milku eed Cream 
always twice and sometimes, dur- 
ing particularly arduous work, 
three times a day. It keeps my 
skin in a healthful condition all 
the time. I am sure I would be 
quite lost without it. 



Ingram's 

Ksol 



iouvcrainc 

FACE POWDER 



A complexion powder espec- 
ially distinguished by tne iact 
that it stays on. Furthermjre 
a p iwder of unexcelled deli- 
cacy of texture and refinement 
of perfume Fourtints— White, 
Pink, Flesh and Brunette— 50c. 



JPougrc 

"Just to show a piuper glow" use 
a touch of Ingram's Rouge on the 
cheeks. A safe preparation lor 
delicately heightening the natural 
color. 1 hecoloring matter is not ab- 
sorbed bv the skin. Delicately per- 
fumed. Solid cake. Three shades 
— Light, Medium and Dark,— 50c. 



Mail Coupon 



Frederick F. Ingram Co. 

Established 1885 

102 Tenth Street Detroit, U.S.A. 

Windsor, Ont. 



(106) 



YYYYTYYYYYYyYYYYYYYY YYYTYYyYYYYYYYYYTYYrYYYYYYYYYYYYY 



FREDERICK F. INGRAM CO., 

102 Tenth St., Detroit, Mich. 

I enclose a dime in return for which please send me 
your Guest Room Package containing Ingram's Face 
Powder and Rouge in novel purse packets and M ilk- 
weed Crenm. Zodenta Tooth Powder, and Ingram's 
Perfume in Guest Room sizes. 



MALL PRINTING COMPANY, CMICAGf 



Explanatory Note ~- At the right is a translation of the 
story of palm and olive oils written in the hieroglyphics of 
3000 years ago. The characters and the translation are 
correctly shown according to the present day knowledge of 
the subject. Read hieroglyphics down, and to the right. ' 



(2) 
(3) 
(4) 



As for her who desires beauty. 

She is wont to anoint her limbs with 

There cause to flourish these oint 



As for oil of palm and oil of olives, there is not 



/is jor oil uj paim ana on of unves, Liiere 
reviving, making sound and purifying the ski 



oil of palm and oil of olives, 
the skin. 

their like for 



The History Bac 
of Modern Beauty 

WHEN the royal women of 
ancient E&ypt learned the 
value of Palm and Olive oils 
they made a discovery to which 
modern users owe Palmolive. 

For this famous soap contains trie- 
same rare oils, the luxury of famous 
queens 3000 years a&o. 

Its bland, fragrant lather is the 
final perfection of the blend which 
is old as history. 

Palmolive Shampoo also contains 
the same Palm and Olive oils, keep- 
ing, the hair soft and flossy with their 
mild yet thorough cleansing, qualities. 

Palmolive is sold everywhere by leading 
dealers — wartime price, two cakes for 25c. 
It is supplied in guest-cake size at those 
hotels most famous for de luxe service. 

Soul 2j cent-, in si<imp°i for Travelette case. 
containing miniature packai popu- 

lar Puhnchrc specialties attractively packed. 

THE PALMOLIVE COMPANY 

Milwaukee, U. S. A. 

The Palmolive Company of Canada, Limited 

Toronto. Ontario 




toJHOTP 

October 




ao Cents 



M5T 





takWl ( 




This space is alu for Photoplay's TJ 1 7" '? ^ 1 D ^9 

is/ important announcements. This month JDZIX/ JLiluGTrvX/ JDOTWjLS 

the yn\ <<f all messages to our readers is: The Safest Investment in the World 







— ::-_=_ -7~^ff/ma/B/mM/muii, 



Iji^^IIIADE M^Oj^Jt- MARK 





Bnard tjjE 



1:^1:- 




The MARKS OF 
BETTER MOTION PICTURES 

OU will never count that hour wasted or a disappointment 
when you see a Paramount or Artcraft Picture. Bringing 
to your city the greatest dramatic talent of screen and stage 

— Paramount and Artcraft pictures give you the photo- play at the 

apex of its development. 

They are the better pictures of the better class theatres all over 
the motion picture art — supreme the country. Because these 
in their stars, great in their stories, theatres know that your patron- 
and perfect in their mounting age is quickly won, and perma- 
and direction. And they are nently maintained, by showing 
marked Paramount or Artcraft pictures of quality and character, 
to identify them to you as your There fa a theatre {n yQm 
kind of picture. neighborhood showing Para- 
Paramount and Artcraft pic- mount and Artcraft pictures, 
tures are shown in thousands of See them. 

paramount ™*(2rfcrti£t 

jHotion (pictures " 



ThrPP Wmicfn JCrtnin how to be sure of seeing Paramount 
IIUCC VVUyb LUJ^IIUW and Artcraft Motion Pictures 

One — by seeing these tWO — by seeing these three — by seeing these 

trade-marks or names trade-marks or names trade-marks or names 

in the advertisements on the front of the flashed on the screen 

of your local theatres. theatre or in the lobby. inside the theatre. 



\\ FAMOUS PLAYERS -LASKY CORPORATION 

ifcT/« ADOLPH ZUKOR JVpi JESSE LLASKYWyPn-s CECUBDEMlILEifcrvrfrjrCwwn* ._-, 



<»->- ^ • 




'FOREMOST STARS. SUPERBLY DIRECTED, IN CLEAN MOTION PICTURES'' 



m 



n 



Photoplay Magazine — Advertising Section 




OLIV£t? 



■Mft 



m+m* m 



Easy 
Get 



If you will merely mail 
the coupon to us, an Oliver 
will be shipped immediately 
to you for FREE TRIAL. 

You need not send a cent. 

Keep the Oliver for five days. 
Use it as if it were your own. 
Note how easy it is to type. 

Note that it is a brand new 
01iver,neverused. Itisnotsecond- 
hand, not rebuilt. It is our latest 
and best model, the Oliver No. 9. 
If any typewriter is worth $100, it 
is this splendid model. 

And you get it for half the 
former price. And on easy 
terms, if you wish. 

This is the identical model 
used by the foremost concerns, 
such as The U. S. Steel Corpo- 
ration, The Pennsylvania Rail- 
road, The Diamond Match Com- 
pany, The National City Bank 
of New York, Montgomery Ward 
& Co., Boston Elevated Railways, 
Columbia Graphophone Company; 
Hart, Schaffner & Marx, and a 
score of others of equal rank. 

We no longer have an expen- 
sive sales force traveling all over 
the country. Think what that 
saves in these times ! You do not 
pay for high-priced executives, 
nor salaried salesmen, nor costly 
branches in all the chief cities. 

You now save the $51 it used 
to cost to sell you an Oliver. $49 is 
a from-th'e-factory-to-you price. 

The machine has not been 
changed in the slightest. You 
get the exact $100 Oliver for $49 
solely because of our new plan of 
selling direct. 

A free-trial Oliver does not 
obligate you to buy. If you do 
not want to keep it, send it back. 
We even refund the transporta- 
tion charges. 

At all times during the trial, 
you are the sole judge. No one 
need influence you. 

Keep the Oliver at this great 

saving and these easy terms — 

or return it. You decide. 

Mail the coupon now. It is 

your great opportunity 

to own a typewriter. 



Easy^ 

to 

Learn 



Anyone can learn to oper- 
ate the Oliver. It is simple. 
One picks it up easily. 

One may learn the "nat- 
ural" method or the "touch 
system." 

We have published an instruc- 
tion book for those who wish to 
learn the touch system, as taught 
in the better business colleges. 

This we furnish free to Oliver 
buyers who ask for it when 
ordering. 

It is called "The Van Sant 
System of Touch Typewriting." 
It is prepared by Prof. A. C. 
Van Sant, known for years as 
the father of improved touch 
typewriting. 

Ordinarily, it would cost you 
$40 or more, plus the difficulty 
of attendance, to take this course 
at a business .college. 

You can learn it at home 
through our charts and instruc- 
tions. By practice you may rival 
the speediest operators. 

So whether you 'earn by your- 
self the "natural '.' way, which is 
fast enough for the average in- 
dividual, or the "touch system," 
which is the fastest of all, be as- 
sured that you will find typing easy. 

Thousands of people like your- 
self have learned. Thousands of 
school children are learning. 

The Oliver is particularly easy 
to operdte because of its funda- 
mental excellencies. 

The Oliver was first to intro- 
duce "visible" writing. And ever 
since the Oliver has been 
a leader in improvements. 

The touch is light, the 
action largely auto- 
matic. The workman- 
ship is of the best. 

A free-trial Oliver 
will prove how simple 
it is to learn. Get it 
and see. Mail the 
coupon. 



Easy 

to 
Owiv 



At $49 everyone can af- 
ford an Oliver. 

To big concerns using 
many machines the saving 
is enormous. And to the 
individual, the Oliver is the 
only hundred -dollar type- 
writer for $49. 

There is no need to pay more. 
More cannot buy a finer ma- 
chine. In addition to the no- 
money-down, free-trial, half- 
price advantages, we offer the 
Oliver at $3 per month. 

How extravagant to buy a sec- 
ond-hand, rebuilt typewriter or 
even to rent, when you can own a 
brand new Oliver so easily! 

And you can use it while you 
are paying. 

What offer could be more 
liberal? We feel that we have 
gone the limit in self-selling. 

We hope to continue this offer, 
for it has brought satisfaction to 
thousands of purchasers. 

Possibly the price will have to 
be raised. We hope not. But 
to obtain an Oliver at the existing 
price of $49, do hot wait. 

We urge you to take advantage of this 
offer now. Your good judgment shows you 
that it is remarkable. Act today. 

Mail the coupon for EITHER the free- 
trial Oliver or further information. If you 
use many typewriters in your business, 
mention it in sending the coupon. 
Canadian Price $62.65 

The Oliver Typewriter Co. 

1477 Oliver Typewriter Bldg. 
Chicago, 111. 1795) 



THE OLIVER TYPEWRITER CO. 
1477 Oliver Typewriter Bldg. , Chicago 

□ Ship me a new Oliver Nine for five days' free 
inspection. If I keep it, I will pay $49 at the 
rote of S3 per month. The title to remain in you 
until fully paid for. 

My shipping point is 

This does not place me under any obligation to 
buy. If I choose to return the OHver : I will ship 
it back at your expense at the end of five days. 

□ Do not send a machine until I order it. Mail 
me your book— "The High Costof Typewriters 
— The Reason and the Remedy," your de luxe 
catalog and further information^ 



Name 

Street Address. 
City 



State. 



When you write to advertisers please mention PHOTOPLAY MAGAZINE. 



Photoplay Magazine — Advertising Section 




DOWN at Washington stands the Nation's capitol. It is more than a pile of stone. 
It is a monument to an idea: "The people are the Government." Under no other 
idea is there so great an opportunity to work out individual prosperity and individual 
happiness. 



Back of the American idea suddenly has arisen the black 
menace of the opposing Prussian idea. Under it the 
people are not the Government. Under it the people live 
and prosper, or sacrifice and die, by grace of " Me und 
Gott." 

Militarism is the mailed fist which supports the divine- 
right Government. It is typified in Hindenburg. 

What a contrast is offered to Hindenburg's militarism 
by Pershing's* military ! Freedom's military is the people 
embattled. Autocracy's militarism is the people driven. 

Our boys in France and Italy are the expression in 
military form of the people's own stern will. When 
Pershing speaks of them to President Wilson, he says, 
" Sir. our armies." The German soldiers are the servants 
of militarism. Of them Hindenburg says to the Kaiser, 
"Majesty, your armies." 

The billions of dollars we are gathering here at home 
for military purposes have no taint of militarism on a 
single coin. 



Germany began her war with no plans for elaborate 
taxation of her people; the Junkers expected to saddle 
the cost of the war upon quickly conquered nations. Not 
so does a free people make war ! From the start we have 
gone down into our own pockets for every cent we ex- 
pend; we have never thought of taking; we have thought 
only of spending our blood and our treasure to protect 
our ideal of free national life. 

The menace of Hindenburg makes no American tremble. 
But it makes us grit our teeth and either fight or give! 
What the Government (which is the people) wants to 
borrow, we, the people, as individuals will lend. 

The menace of Hindenburg shall cease to exist in the 
world even as a shadow; and we shall return to our 
individual pursuits under the protection of our national 
ideal successfully defended; and, please God, other 
nations, as the result of this struggle, shall join us and 
our already free Allies in the enjoyment of our blood- 
bought and blood-held freedom. 



BUY U. S. GOVT BONDS FOURTH LIBERTY LOAN 



Contributed through Division of Advertising 




United States Govt. Comm. on Public Information 



This space contributed for the Winning of the War by 

THE PUBLISHERS OF THIS MAGAZINE 



Every advertisement in PHOTOPLAY MAGAZINE is guaranteed. 







REG. U. S. PAT. OFF. 



THE WORLD'S LEADING MOVING PICTURE PUBLICATION 

PHOTOPLAY MAGAZINE 



"The National Movie Publication" 

Copyright, 1918, by the Photoplay Publishing Company 1 Chicago 



VOL. XIV 



Contents 



No. 



OCTOBER, 1018 



Cover Design — Marguerite Clayton 

From the Pastel Portrait by W. Haskell Coffin 

Art Section Portraits: Mae Marsh, Elsie Ferguson, Rubye 

de Remer, Enrico Caruso, John Barrymore, Raymond 

Hatton, E. K. Lincoln, Fay Tincher, Edith Johnson, 

Anne Luther, and Constance Talmadge 

Bond Your Appreciation! Editorial 

The Photoplay League of America My ra Kingman M iller 

A Great New Movement To Promote the Best in Pictures. 

"Cousin Carus'" in the Land of Lights 

Another Songbird Who Has Packed His Voice in Mothballs. 

"If You Have No Farm, Borrow One" Edward Earle 

Mr. Earle Borrowed a Typewriter to Tell This Story. 

Friends Everywhere Dorothy Scott 

Marguerite Clayton Wasn't a Bit Afraid in Strange New York. 

The New American Face 

Captain Bob Warwick on the Yankee Youth of Tomorrow. 

Behind the Lines (Pictures) 

The Gigantic Task of Keeping an Army in Fighting Shape. 

An Estate in Sunny Calif — No! No! (Pictures) 

Glimpses of Pearl White's Beautiful Estate. 

Raymond Hitchcock to Return to Pictures? 

"Hitchy Koo," While Amusing His Parrot, Says He Might. 

"Let's Get Together— Everybody!" Lt. Samuel Rothapfel 

Some Forceful Beliefs of New York's Biggest Film Theatre Man. 

The Road to France (Fiction) Jerome Shorey 

Told from the Photoplay. 

The Essential Ingredient Elizabeth Peltret 

Bert Lytell, An Important Part of Any Excitement around Metro. 



(Contents continued on next page) 



21 
22 

25 

26 

27 

29 

30 

32 

34 

35 

37 

41 



■!■■■:. TIIVi. Jinjiilin 



Published monthly by the Photoplay Publishing Co., 350 N. Clark St., Chicago, 111. 

E. M. Colvin, Pres.: James R. Quirk, Vice Pres. and Gen. Mgr.; R. M. Eastman, Sec.-Treas. 
Julian Johnson, Editor. W. M. Hart, Adv. Mgr. 

Yearly Subscription: $2.00 in the United States, its dependencies, Mexico and Cuba; 
$2.50 Canada; $3.00 to foreign countries. Remittances should be made by check, or postal 
or express money order. 

Caution— Do not subscribe through persons unknown to you. 
ntered as second-c'ass matter Apr. 24, 1912, at the Postoffice at Chicago, 111., uncitr the Act of March 3 1879. 



Next Month 

Eltinge's Castle in Spain 

Julian Eltinge has just completed 2. 
home for himself in Los Angeles that 
has already become one of the show 
places of a city of beautiful homes. 
He designed it himself, and has filled 
it with wonderful furnishings, tapestries 
and antiques, picked up in his travels all 
over the world. Photoplay will take 
you on a little visit to Julian Eltinge's 
new place in the November issue. 



Face to Face 

Next month you will meet face to 
face, so to speak, Eugene O'Brien, 
Shirley Mason, Ella Hall, Alice Lake, 
Katherine MacDonald, Bebe Daniels, 
Fred Stone, Sylvia Bremer, Ben Turpin, 
Norman Kerry, Barney Sherry, Florence 
Deshon, Ernest Truax, Priscilla Dean, 
The Dolly Sisters, and Josephine Crowell. 

You will also be introduced to Ricord 
Gradwell, the man behind the World 
Film Corporation. He doesn't permit 
his publicity agents to talk about him. 
That in itself makes him a unique figure. 



Personalities 

The November issue will be replete 
with articles and exclusive photographs 
of your screen favorites. Several of 
them will be written as only Julian 
Johnson can write them. Photoplay 
has always avoided the ordinary, mushy, 
superlative "chat" sort of material, 
written as though the author had sat 
spellbound, open-mouthed, and awe- 
stricken while the great one poured 
forth words of platitudinous wisdom. 
This sort of a so-called interview is 
unfair to the personality whom the 
writer is attempting to depict, and an 
insult to the intelligence of the reader. 
Photoplay's theory of personality 
stories is that the subject is one whom 
the reader would like to meet, and its 
writers make an effort to transmit their 
real personality into words ?.nd pictures 

Superlatives never carry a message 






Contents — Continued 







ii:!;i' 1 !iii;.:i..;!iii;:!:i.!;ii!;!:;i:siii»iiiiii;iii:iii;ii!i!iii!:!:i[r':;i:f"':;. iiuaiBiSiiciiiiiiiii 



l:IH<l!IS;i:;Si!li!llll]i!„ii,llili' i::llnilllillllllK:!l!»i! ] 



"Stage Experience? None!" 

So Mildred Harris Answered the Big Question. 

Here Are "Henry and Polly" (Pictures) 

Scenes from the Drews' Stage Play. 

A Screen Inspired Genius 

His Models for War Figures Pose on the Shadow Stage. 

Cap'n Hart of the Horse Marines! (Pictures) 

"Shark Monroe" Shows an Interesting New Hart Character. 

The Dominant Race Johnstone Craig 

Referring to the Irish, Who Seem to Rule Picture Production. 

What About Screen Comedy— Tomorrow? Harry Carr 

A Consideration of the Future of Laugh-Getters. 

Out of a Clear Sky (Fiction) Dale Carroll 

Written from Marguerite Clark's Interesting Photoplay. 

Known Here as Mrs. Schenck (Pictures) 

Norma Talmadge at Home. 

Grand Crossings Impressions Delight Evans 

Olive Thomas — and Madge Kennedy. 

The Personality Test Randolph Bartlett 

An Uncommon Test — but Gladys Hulette Passed Easily. 

Cheating the Animals 

Marie Walcamp, a Regular "Kathlyn," is Through With Thrillers. 

Riddle Gawne (Fiction) Gerald C. Duffy 

Told from William S. Hart's Picture. 

Early to Breakfast Dorothy Allison 

Revealing Why Taylor Holmes is Never Caught Napping. 

Farrar "Doubling" in the Movies (Pictures) 

Not in the Vernacular of the Screen, but — 

Why-Do-They-Do-It? 

More Screen Incongruities Noticed by Readers. 

A Refugee from Russia 

Hedda Nova is Her Name, and She's "In Hiding." 

An American from Tokio 

Tsuru Aoki, a Charming Little Nipponese. 

Close-Ups Editorial Expression and Timely Comment 
The Shadow Stage Julian Johnson 

Reviews of the Newest Pictures. 

Irene Castle Will "Carry On" Dorothy Allison 

About the Widow of the Air Hero, Soon to Go to France. 

A Dramatist Who Came Back 

Charles T. Dazey, Once Retired but Lured Again to His Typewriter. 

Stars of the Screen and Their Stars in the Sky Ellen Woods 

This Time — Maurice Tourneur and Pauline Frederick. 

Anita's War Garden Frances Denton 

Miss Stewart Hopes to Reap a Banner Patriotic Crop. 

Has Mary Pickford Retired? 

The Favorite Star Doesn't Seem to Know Herself. 

Odds and Ends 

This and That of Interest to Photoplay Followers. 

Plays and Players Cal York 

News and Interesting Comment from the Studios. 

Sons of the Sun in Arms ! Julian Johnson 

How the Photoplay Actorate is Doing Its Fighting Bit. 

Educational Films 

Interesting and Helpful News About "Visual Instruction." 

Questions and Answers The Answer Man 



43 
44 
46 
47 
48 
49 
52 
56 
58 
59 
61 
62 
66 



69 

71 
72 

73 

75 

79 
81 
82 
83 
85 
86 



92 
95 
99 



i; „ iiiOEairraKgninnii'a'SHSJiiv.iia aisiMr'BFaafii'atrraic'itii 



Next Month 

Julian Johnson 

In the November Photoplay Julian 
Johnson presents his third annual re- 
view of the year's accomplishments in 
acting, directing, and photoplay writing. 
As in the past, it will be a frank cata- 
logue of progression or retrogression, 
measured by results. 



Triangle Pictures 

You're wrong! This has nothing to 
do with Culver City. This triangle is 
red — the red of sacrifice and service — 
and the pictures filter into the eyes of 
tired men who are saving the world for 
us. A vivid story, full of amazing fact, 
on the stupendous service of the motion 
picture to our army in France, by Janet 
M. Cummings, Overseas Secretary, Y. 
M. C. A. The author is not in the film 
business. She is an impartial war- 
worker, and her great tribute to the 
Photoplay is quite impersonal. 



The League Results 

Last month we announced the big 
new movement for clean pictures, The 
Photoplay League of America. This 
month we are describing its organiza- 
tion, its methods, its intent. Next 
month — some results. Watch for the 
first fruits of this purely constructive 
reform. 



An All-Star Fiction Number 

That is just what November Photo- 
play will be, for it has skimmed the 
cream of the month's narratives. Can 
you beat this trio — ? 

"The Turn of the Wheel," Geraldine 
Farrar's first Goldwyn. 

"The Sierra Sixties," a Pathe moderni- 
zation of that old masterpiece of melo- 
drama, "The Lyons Mail." 

"Johanna Enlists," Mary Pickford's 
new romantic comedy of the war. 



Ph 



Page 76 



All SI an Vitagraph 

For Htusbands Only Jewel 



The Grand March 

The biggest art-movement in history 
will take place as the days grow short 
and cold: the grand march of the film 
business to California. Fuel conserva- 
tion is back of it, and the already huge 
Photoplay colonies around Los Angeles 
will be enlarged until that pueblo be- 
comes a veritable modern Athens. An 
interesting account of problems, meth- 
ods, personalities and probable results 
iNiiiiiETiiiriiiiiiiiEiiiiiiNiaiiiiiETiiiisiiiiiiibiitiiiiiiiiiiJiiiiiniiiiiiiiiiMiiiiiiiEiiiiiibiiiiiiiiiiiiiiiiiiiiiiiiiiTiniiiitiinn] m this mi ghty trek. 

otoplays Reviewed in Shadow Stage This Issue 

"--• Marked Cards Triangle 

Cactus Crandall Triangk, 

The City of Dim Face* Paramount 



Page 77 



We Can't Have Everything Artcraft 

Toton Tr.angle 



Page 78 



The Danger Slark Art raft 

A Pair of Cupids Metro 

Uncle Tom's Cabin -. Paramount 

The Vamp Inee- Paramount 



Page 102 



Rack to the Woods Goldwyn 

Tlie Glorious Adventure Goldwyn 

Fedora. Paramount 

Waifs Pathe 

Cupid by Proxy Diaudo-Pathe 



The Dream Lady Bluebird 

A Pair of Silk stockings Se'ect 

The Safety Curtain Select 

Page 103 . 

Up Romance Road Slutual 

The Ghost of Rosy Taylor Mutual 

A Good Loser Triangle 

By Proxy Triangle 

Everywoman's Husband Triangle 

Page 104 

Bound in Sloroeeo Artcraft 

A Nine O'clock Town Ince-I'aramount 

Wedlock Parana 

The Golden Wall World 

Heredity World 

.Neighbors Worldi 

Hell's End Triangle 

Beyond the Shadow Triangle 

False Ambitions Triangle 



Scandal Mongers .Universal 

Joan of the Woods World 

The Claw9 of the Hun Ince- Paramount 

The Death Dance Select 

Page 105 

Love Watches Yitagraph 

One Thousand Dollars Vitagraph 

Her Moment General Film 

The Demon Metro 

No Man's Land Sletro 

As the Sun Went Down: Metro 

Less Than Kin Paramount 

Riddle Gawne Artcraft 

The Empty Cab Bluebird 

The Deciding Kiss Bluebird 

Winner Takes All Bluebird 

The Girl from Bohemia Pathe 

A Romance of the Underworld Keeney 





Photoplay Magazine — Advertising Section 




Ingrt&m's 

MilKw&ed 

CtGam 

A clear, colorful complexion is a gift 

that should be jealously guarded. Many 

a girl has seen her delicate coloring fade 

and imperfections mar her charm, when 

by a little correct care daily she might have 

preserved her attractiveness. Ingram's 

Milkweed Cream if used regularly will protect your 

skin and keep it soft, smooth, and healthful. 

It wards off the bad effects of wind and weather. Keeps 
the pores thoroughly cleansed and the texture of the skin 
soft. Alone among all beauty aids it has a positive 
therapeutic quality that keeps the skin healthful. Get a 
jar today at your druggist's. 



in t\'eiy 
Jar' 




Buy It in Either 50c or $1.00 Size 



New York City, N. Y, 

October 15, 1917 
F. F. INGRAM CO. : 

There is nothing I can say that will 
fully express my appreciation for In- 
gram's Milkweed Cream. It has been 
of invaluable assistance to me in keeping 
my skin and complexion in a healthful 
condition under the exigencies of photo- 
play work. I prefer it to any ordinary 
face cream because it does have the 
ability to tone up the skin as well as to 
keep it soft and smooth. 



Tpav£5s~CLS Va-U**OL*,£px^s 



InatQm's 



f%<£.o/a 

fOuvcrainc 

FACE POWDER 



A complexion powder espec- 
ially distinguished by the fact 
that it stays on. Furthermore 
a powder of unexcelled deli- 
cacy of texture and refinement 
of perfume. Fourtints — White, 
Pink, Flesh and Brunette— 50c. 



ItigrtQm's 

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Mail Coupon 



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Established 1885 

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(110) 



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When you write to advertisers please mention PHOTOPLAY MAGAZINE. 



Photoplay Magazine — Advertising Section 





HONE 



'DRAWING 

Illustrators, Cartoonists. Commercial Artiste make big 
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Short-Story Writing 

A COURSE of forty lessons in the history , form, struc- 
ture and writing of the Short Story taught by Dr. 
J. Bergr Esenwein, for years Ed- 
itor of Lippincott's. 

One student writes: — "Before 
completing the lessons, received 
over $1 ,000 for manuscript 
sold to Woman's Home Compan- 
ion, Pictorial Review, McCall's 
and other leading magazines." 
Also coursesinPhotoplay Writing, 
Versification and Poetics, Jour- 
nalism. In all over One Hundred 
Courses, underprof essors in Har- 
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leading colleges. ISO-Page Cat- 
Dr. Esenwein alog Free. Please Address 

The Home Correspondence School 

Dept. 95 Springfield, Mass. 




"Don't Shout 

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"The MORLEY PHONE for the 

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is to the ears what 
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can adjust il." Over 100,000 sold. Write for booklet and testimonials. 
THE MORLEY CO., Dept. 789, Perry Bldg. f Phila. 

Learn at Home to 
Write Short Stories 

You can learn how to write short stories, photoplays, 

and newspaper articles right in your home. Jack London 
Said SO. Ho haa endorned this course of training. S3. 000 a 

J'ear i 9 a small income for a Rood short story writer. Personal 
nst ruction. Manuscripts carefully edited. 

Write f nr Frpp Rnnk Send J"" ir , nam * end address 

5*1 llrj TOr ITee DOOR now . Read whatgreat authors 

eay about learning how to write at home. Special offer 
now being made. No obligations. Write today. 
HoogieMns tjtute^Shor^toryDep^ 





DEAFNESS IS MISERY 

I know because I was Deaf and had Head 
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you. They are Tiny Megaphones. Cannot 
be seen when worn. Easy to put in, easy to 
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statement of how I recovered my hearing. 

A. O. Leonard, Suite 223, 70 5th Ave., N. Y.City 




CLASSIFIED ADVERTISING 



Rate 

15 cents 

per 

word 



. ' ' . ' _■' 



Wrt ! h'--ri,n-n:ff^^ 







All Advertisements 

have equal display and 
same good opportuni- 
ties for big results. 



WMMm^W^MMMMMMMI 




This Section Pays. 

84% of the advertisers 
using this section during 
the past year have re- 
peated their copy. 



Rate 
15 cents 



U-uuy^uuu^Lru 




OTOE 



FORMS FOR DECEMBER ISSUE CLOSE OCTOBER FIRST 



AGENTS AND SALESMEN 



AGENTS— 500% PROFIT; FREE SAMPLES; GOLD 
Biffn letters for store and office windows; anyone can 
put on. Metallic Letter Co., 414 N. Clark St., 
Chicago. 

TELL THE READERS OF PHOTOPLAY WHAT 
you have of interest to them. You can reach them 
at a very small cost through an advertisement in the 
classified section. 84% of the advertisers using this 
section during the past year have repeated. The section 
is read and brings results. 

AGENTS— HO-RO-CO MEDICATED SKIN & SCALP 
Soap and Toilet Goods Plan beats everything for agent's 
profits . "Bo-Ro-Co," 138 Locust St., St. Louis, Mo. 

AGENTS— $30.00 A WEEK SELLING GUARAN- 
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agents' proposition. Thomas Mfg. Co., 264 North St., 
Dayton, Ohio. 

BOOKS 

HERE IS AN OPPORTUNITY TO GET HAROLD 

MacGrath's famous book "The Adventures of Kathlyn" 
containing 374 pages, illustrations made from actual 
photographs. Regular dollar book now only thirty-five 
cents. This is a special limited offer. Our Supply of 
these books is very limited. Order your copy today. 
R. Meskin. 350 N. Clark St.. Chicago, 111. 

HELP WANTED 

MEN. WOMEN, 18 OR OVER, WANTED IMME- 
diately for U. S. Government War positions. Thou- 
sands Clerical positions open, $100 month. Easy work. 
Write immediately for list i>ositions. Franklin In- 
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WOMEN TO SEW. GOODS SENT PREPAID TO 
your door; plain sewing; steady work; no canvassing. 
Send stamped envelope for prices paid. Universal Co., 
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GOVERNMENT PAYS $900 TO $1,800 YEARLY. 
Prepare for coming "exams" under former Civil Service 
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ice School, Box 3017, Rochester, N. Y. 

WANTED TEN BRIGHT CAPABLE LADIES TO 

travel, demonstrate and sell well known goods to established 
dealers. $25.00 to $50.00 per week; railroad fare 
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once Goodrich Drug Company, Dept. 59, Omaha, Nebr. 

PATENTS 

INVENT SOMETHING, YOUR IDEAS MAY BRING 
wealth. Free book tells what to invent and how to 
obtain a patent. References; Dun. Bradstreet and 
Washington Mechanics' Bank. Talbert & Talbert, 4 7 24 
Talbert Building, Wash ington. D. C. 

WANTED IDEAS, WRITE FOR LIST OF PATENT 
Buyers and Inventions Wanted. $1,000,000 in prizes 
offered for inventions. Send sketch for free opinion as 
to patentability. Our tour books sent free. Victor J. 
Evans & Co.. Patent Attys., 763 Ninth, Washington, 
D. C. 



EDUCATION AND INSTRUCTION 

HUNDREDS OF PEOPLE MAKE BIG MONEY 
writing Photoplays. Stories, etc. Why don't you? Write 
us for free details. Bookmart Co.. Dept. 8. Auburn. 

;. y. 

manuscripts typewritten 

SCENARIOS, MANUSCRIPTS TYPED TEN CENTS 
page including carbon. Spelling corrected. Seven years' 
experience. Marjorie Jones, 322 Monadnock Block. 
Chicago, 

SHORT ST ORIES WANTED 

WANTED— STORIES. ARTICLES, POEMS FOR 
new magazine. We pay on acceptance. Handwritten 
Mss. acceptable. Send Mas. to Woman's National Maga- 
zine, 379, Washington, D. C. 

SONGWRITERS 

WRITE A SONG— PATRIOTIC OR POPULAR. 1 

compose music and guarantee publication. Send words 
today. Thomas Merlin. 2 3 5 Reaper Block. Chicago^ 

SONGWRITERS^ SEND YOUR POEMS TODAY FOR 
best offer and immediate publication. Free examina- 
tion. Music composed. Booklet on reqxiest. Authors & 
Composers Service Co., Suite 512, 1433 Broadway. 
New York. 

WHO WLLL WHITE THE SONG HIT OF THE WAR? 
If you have an idea suitable for such a song write for 
FREE BOOKLET "Songwriters Manual & Guide." We 
revise poems, compose music, secure copyright and facili- 
tate free publication or sale. Poems submitted, exam- 
ined free. Knickerbocker Studios, 166 Gaiety Bldg., 
N. Y. C. 

WRITE THE WORDS FOR A SONG. WE WRITE 
music and guarantee publisher's acceptance. Submit 
poems on war, love or any subject. Chester Music Co., 
538 So. Dearborn St.. Suite 112. Chicago. x 

SONG WRITERS— BEST OFFER TO NEW WRIT- 
ers. Particulars. Ellis Publishing Company. Dept. H, 
Irvlngton, New Jerse y. 

WRITE US WORDS FOR A SONG. WE WILL 
compose music — facilitate free publication. Send verses 
on love. war. any subject. Fairchild Music Co., 203 
Broadway, 17-C, New York. 

MOVING PICTURE BUSINESS 

$15.00 TO $20.00 NIGHTLY ON SMALL INVEST- 
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catalog. Moving Picture Sales Co., 540 Plymouth 
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$75.00 BUYS COMPLETE PROFESSIONAL MOV- 
ing Picture Outfit, Machine, Films, supplies. Make big 
money. Small investment. Write for particulars. Ells- 
worth Film Co., Dept. — SL, 537 So. Dearborn St.. 
Chicago. 

BIG PROFITS— SMALL INVESTMENT— COMPLETE 
Moving Picture outfit furnished on Easy Payment Plan. 
No experience needed. We start you successfully. Free 
Catalog. Dept. — M-3. Monarch Film Sen-ice, 2 2S 
Union Ave.. Memphis. Tenn. 



PICK YOURS QUICK! 



'Way Less Than Manufacturer's Price 



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Typewriter Emporium, 34-36W. Lake St., Chichi 





DO YOU LIKE TO DRAW? 

CARTOONISTS ARE WELL PAID 



• this 



ake > 



i if you 
i claim 
But if 



ious to develop . 

th a successful cartoonist, 

make money, send a copy 

of this picture, with 6c in stamps for 

portfolio of cartoorsand sample lesson 

plate, and let us exptain. 

The W. L. Evans School of Cartooning 

850 Leader Bldg-, Cleveland, O. 



° Learn Piano! 

This Interesting Free Book 






! a skilled 



kv« shows how you can beco 
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home, at one-quarter usual cost. 

Dr. Quinn's famous Written Method 

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Successful 25 years. Play chords at one. and complete piece in every 
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ma gran ted. Write today for64 -page free book. How toStuily Music. 
M. L. QUINN CONSERVATORY, Studio P J. Social Union Bldg., BOSTON. MASS. 



Every advertisement in PHOTOPLAY 
MAGAZINE is guaranteed not only 
by the advertiser, but by the Publisher. 



""" 25 1CARS THE STANDARD TRHIWNO 
SCHOOL FDR THEATRE ARTS 

7ULVVIEIWE SCHOOL 
DRAMATIC ARTS 

FOUR SCHOOLS IN ONE. PRACTICAL STAGE 
TRAINING. THE SCHOOL'S STUDENT'S STOCK<™> 
-THEATRE AFFORD PUBLIC STAGE APPEARANCES 

Write for catalog mentioning: study desired to 

A. T. IRWIN. Secretary 

225 W. 57th St. New York City 



.PULARITY FOLLOWS THEf 

UKULELB C> 

IE you play quaint, dreamy Hawaiian 

music or latest songsontheUkulele you 

will be wanted everywhere. We 

teach by mail 20 simple lessons; 

give you free a genuine Hawaiian 

Ukulele, music, everything- — no 

extras. Ask us to send the story of 
«. Hawaiian music. You will love it. 
rTL No ob!ination — absolutely free. 
JP The Hawaltan Institute of Music 

1400 Broadway. Suite 1010. M. V. City 

Earn $ 25tol0aVeek 

rcial*» 
>rtu-i.J 
.ting , J 






Photographers t 



e, Studio and Commercial 
LTTi big money. Rig opportu- 
m qualify for thisfasci: 
profession. 
LEARN PHOTOGRAPHY 
Three months' course covers all 
branches. Experts train you in n«w, 
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classes. Easy terms. Call or write 
for free booklet. 

N. Y. INST. OF PHOTOGRAPHY 
Dept. 39. 141 W. 36th St.. N.Y.CIty 




WRITE THC IVOR W FOR AXOWC 



We write music and guarantee publisher's accept- 
ance. Submit poems on war. love or any subject 
CHESTER MUSIC COMPANY 

S38 South DMriwni avert. Mt* 251 CHICAGO. ILLINOIS 



When you write to advertiser please mention PHOTOPLAY MAGAZINE. 



Photoplay Magazine — Advertising Section 



BIG SIDE MONEY 

For Any Store or Theatre 

New Cut Rates on Butter-Kist Corn Poppers 

$600 to $3000 CLEAR profits per year is conserv- 
ative estimate 
of amount this 
machine will 
make based on 
signed records. 
Thousands in op- 
eration. This lot 
of unbeatable bar- 
gains, rvtlnished 
end rebuilt, guar- 
anteed like new 
— now offered at 
prices we can't 
print. Write us 
quick. 

fhtts machines 
sacrificed by men 
who went to war. 
moved or went out 
Of business. 

Pay From 

Your 

Profits 

Sugar shortage 
makes pop coro bi^rger seller 
than candy and Butter-Kist is 
only pop corn nationally advertised. 

Our plan requires only small payment 
down— balance as low as 97c a day out 
of Butter-Kist sales. , 

Human-like motion of machine makes people 
stop and look, coaxing fragrance makes them 
buy. Draws crowds from blocks around, builds 
new trade, stimulates entire business. Makes 
wastespaceaveritablegoldmine. Occupiesonly 
26 by 32 inches. Beautihes any store or theatre. 
WrltO Quick! This lot is goinglike wild- 
fire. Don't risk delay— don't lose $2 to $10 
profits daily — write at once for proof of profits, 
bonanza cut price offer and full details and 
state your line of business. 

PROFIT MACHINE EXCHANGE 

Dept. 20, 5 South Wabash Ave., Chicago 

Distributors of Money-Making Equipment for 

Merchants and Exhibitors. (2) 




They Deserve 
Well of Us 



THE very best we can give them 
is none too good. They are giv- 
ing everything for us, home, 
comfort, and perhaps more. So it is 
up to us to do our share and the best 
way we can do it is by 

"Our Boys in France 
Tobacco Fund" 

Here is a direct service, a personal 
one, a friendly slap on the back, a 
word of encouragement and a token 
of comfort. Your boys from home, 
whom we have known and pal'd with 
in happier days. 

The War and Navy Departments have 
endorsed this Fund. We have made 
arrangements for speedy and safe 
deliveries. Furthermore, the Fund 
is able to purchase tobacco wholesale 
and therefore your money will go a 
farther way. 

SEND A DOLLAR TODAY 

It will provide four packages for four of our 
boys, each one of whom will send you a 
postal card. We have seen to that. 
Give them -what you can. A dollar or any 
part of it down to a quarter. 

Fill in Blank Below— Send What 
You Can Along With It — Today 



"OUR BOYS IN FRANCE TOBACCO FUND" 
25 W. 44th Street, New York 

Gentlemen: — I want to do my part to help the 
American soldiers who are fighting my battle in 
France. If tobacco will do it — I'm for tobacco. 
(Check below how you desire to contribute.) 
I enclose $1.00. I will adopt a soldier and send you 
$1.00 a month to supply him with "smokes" for the 
duration of the war. 

I send you herewith my contribution 

towards the purchase of tobacco for American sol- 
diers. This does not obligate me to contribute more. 

Name 

Address 




Cecil B. DeMille. director 
general Famous Players-Lasky 
Corporation: "Will always bo 
glad to have Frederick Palmer 
call my attention to stories of 
merit that students of the 
Palmer Plan create." 




A Call for 5000 New 

Photoplays 

Movie Stars and Producers Are Searching 

the Country for New, Suitable Scenarios — 

Read How This New Highly-Paid Art Is 

Easily Mastered 

THE moving picture industry is facing a famine 
— a famine in story plots — scenarios. Prices 
undreamed of a few years ago are being paid 
today — $500 to $1000 and more for five-reel dra- 
matic scripts; $50 to $250 for clever short come- 
dies. The studios — around Los Angeles alone — 
need from 5,000 to 20,000 new stories each year. 
Producers must have material — new plots, espe- 
cially written for the screen. 

Directors and producers now realize that they 
must look to the masses for new ideas. For the 
few able scenarioists of today cannot begin to 
supply the demand. So an opportunity to sell 
scenarios is open to everyone with ideas. To write 
scenarios, you must have ideas. You must also 
know how to put them into proper form for screen 
production. 

What the Palmer Plan Brings You 

And now a plan — the first to be indorsed by the 
leading stars and producers — has been designed 
to teach you how to prepare your ideas for the 
screen. The plan was created by Frederick 
Palmer, formerly of Universal — the man who 
wrote fifty-two scenarios in nine months — more 
than one a week — all accepted. Mr. Palmer fur- 
nishes you with a handbook and cross references 
to scenarios that have been PRODUCED. Both 
drama and comedy are represented. The scenarios come 
to you in exactly the forms used by the studio directors. 
You also receive a glossary of the meaning of motion 
picture terms, such as "truck-up," "iris," "lap-dissolve," 
etc. The Palmer Plan is NOT a school. 

Indorsed by Stars. Producers, Directors and 
Writers 

Under this plan Mr. Palmer gives you six months of 
free advisory service. He keeps you advised of the leading 
companies with the names of their scenario editors and 
the kinds of plots they need. 

Note the pictures of the movie stars in this advertise- 
ment. All of them encourage the Palmer Plan of Scenario 
Writing. These and dozens of others you will find in Mr. 
Palmer's new booklet. "The Secret of Successful Scenario 
Writing." Read in this book our money-back guarantee ; 
no fairer guarantee has ever been offered. 

If You Have Ideas, Get Our Booklet 

Write for this booklet now. It will show you the great 
opportunity in photoplay writing. This book* is filled, with 
autograph letters from the biggest stars and producers, 
strongly indorsing the Palmer Plan of Scenario Writing, 
asking us to do our best to develop photoplay writers. 

Have you ever thought you could write a better plot 
than some you have seen at the movies? If so, send for 
this booklet. It will show you how you can get it pro- 
duced. If you believe you have an idea for a scen- 
ario, this booklet will tell you how vou can > 
turn it into money. For scenario writing S^- 
is very simple, once you have learned the S<P\- ' 

basic principles. Genius is not required. /^V / 

A simple story with one good thought f ,$?<*< 



Thos. H. I nee, head of the 
Famous Ince Studios: "I will 
be glad at all times to read 
and consider all scenarios writ- 
ten by yourself, or your stu- 
dents of the Palmer Plan." 




Olive Thomas, Triangle star: 
"It is good to know that so 
well-known an author as Fred- 
erick Palmer is endeavoring to 
educate the lesser writers." 




Jack Cunningham, author of 
scenarios for Frank Keenan, 
Bessie Barriscale, Olive Thomas 
and other stars: "Frederick 
Palmer has hit upon a won- 
derful help for the writer who 
has not had actual studio ex- 
perience. Every producing com- 
pany needs stories badly." 




oy 



Tf> V 



Mabel Normand, Goldwyn 
star: "The Palmer Plan is the 
best thing of the sort I have 
heard of. If you have any good 
comedy-dramas that would suit 
me, send them on." 



Is enough. For movies are made for 
the masses. Never was there such _ 
an opportunity to turn any sim-^r C 
pie story-idea into monev and Sj** 
reputation. The field is un 
crowded. The demand is 
growing greater each day 
Write for the booklet. V**,^ , 
It's free. No obliga- jr&^-Z?' 
tion. Just fill out S&& 
the coupon and ^^[\- 



mail to us. 

Send Now 
for FREE 
BOOKLET 



■ a, i - s o <y- 



When you write to advertisers please mention PHOTOPLAY MAGAZINE. 



IO 



Photoplay Magazine — Advertising Section 




Stars 

of the 

Photoplay 



Reduced to 25c per copy 
while this edition lasts 




Walton, N. Y. 
I am more than delighted 
with my copy of "Stars." 
Enclosed find 50 cents for 
another. Really I wouldn't 
miss it if I had to pay $5 for 
it. Everyone that comes to 
our house wants one. 

Jennie North. 



Port Royal, S. C. 
Received "Stars of the Pho- 
toplay," and wish to say a 
better collection could not 
have been gotten. Am more 
than pleased with same. 
Thank you very much indeed 
for publishing such a beauti- 
ful book. Sincerely, 

George Guido, 

U. S. Marine Band. 



Chicago 
Many thanks for the book, 
"Stars of the Photoplay." 
Thi6 is certainly a fine collec- 
tion of photographs, and is 
well worth 50 cents, especially 
when it is remembered that 
this amount alone is charged 
for a single photo by many of 
the stars themselves. 

Robt. S. Collins. 



Handsomely bound De Luxe Edition, latest 
Photographs of the Leading Motion Picture 
Artists, containing a clear and comprehensive 
sketch of their career. 

One hundred Art Portraits printed on high qual- 
ity, glazed paper. For reference the De Luxe 
Edition has no equal. Obtained only through 

Photoplay Magazine 

Thousands of copies sold at the former price 
of fifty cents and considered well worth it. 
Read what some enthusiastic purchasers have 
said about this remarkable volume. 

Mail us the coupon below properly filled out, 
together with 25c, stamps, money order or 
check, and a copy will be sent prepaid parcel 
post to any point in the United States or Canada. 

Photoplay Magazine 

DEPT.P, 350 N.CLARK STREET, CHICAGO 



Money cheerfully refunded if Edition 
does not meet with your entire satisfaction 



PHOTOPLAY MAGAZINE 

Dept. P, 350 N. Clark Street, CHICAGO, ILL. 

f Stamps ) 

Gentlemen Enclosed please find { M. o. V for 25c, for which 

( Check > 

you may send me one copy of Stars of the Photoplay." 



Name . 



Address. 



Every advertisement in PHOTOPLAY MAGAZINE is guaranteed. 



Photoplay Magazine— Advertising Section 



II 



What $1 Will 

Bring You 

More than a thousand 
pictures of photoplay- 
ers and illustrations of 
their work and pastime. 

Scores of interesting articles 
about the people you see 
on the screen. 

Splendidly written short 
stories, some of which you 
will see acted at your mov- 
ing picture theater. 

The truth and nothing but 
the truth, about motion 
pictures, the stars, and the 
industry. 

You have read this issue of 
Photoplay so there is no neces- 
sity for telling you that it is one 
of the most superbly illustrated, 
the best written and the most 
attractively printed magazine 
published today — and alone 
in its field of motion pictures. 

Slip a dollar bill in an 
envelope addressed to 

Photoplay Magazine 

Dept. 7-P, 350 N. Clark St., CHICAGO 

and receive the November issue 
and five issues thereafter. 



PHOTOPLAY MAGAZINE 

Department 7-P 

3SO North Clark Street, CHICAGO 

Gentlemen: I enclose herewith $1.00 (Can- 
ada $1.25) for which you will kindly enter my 
subscription for Photoplay Magazine for 
six months, effective with the Nov., 1918, issue. 

Send to 



Street Address . 



City . 



State . 




"Here's Where We Got Our Start" 

"Look, Nell — this coupon ! Remember the night you 
urged me to send it in to Scranton? Then how happy we 
were when I came home with the news of my first promotion? 
We owe it all, Nell, my place as Manager, our home, our 
comforts — to this coupon." 

Thousands upon thousands of men now know the joy of happy, prosperous 
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spare time study the training that 
equipped him to build the great Equi- 
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They have proved what men with 
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More than a million men and women 
the last 26 years have advanced 



TEAR OUT 



INTERNATIONAL CORRESPONDENCE SCHOOLS 

BOX 6489, SCRANTON. PA. 

Explain, without obligating me, how I can qualify for 
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themselves in position and salary 
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The first step to success in the I. C. S. 
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list and mark and mail this coupon 
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MINE EOKEMAN or EMi'K 
Metallurgist or Prospector 
STATIONARY ENGINEER 
Marine Engineer 
Ship Draftsman 
ARCHITECT 
Contractor and Rnllder 
Architectural Ilraftinian 
Concrete Builder 
Structural Engineer 
_ PI.UMRINH ANI> HEATING 
3 Sheet Metal Worker 
□ Textile OTerseeror Snpt. 
O CHEMIST 



□ SALESMANSHIP 
D ADVERTISING 
3 Window Trimmer 
UShow Card Writer 
I] Sign Painter 
3 Railroad Trainman 
3 ILLUSTRATING 
I] Cartooning 
3 BOOKKEEPER 
3 Stenographer and Typist 
UCert. Pub. Accountant 
3 TRAFFIC MANAGER 
3 Railway Accountant 
3 Commercial Law 
I] GOOD ENGLISH 
3 Teacher 

D Common School Subjects 
Zl Mathematics 
3 CIVIL SERVICE 
Zl Railway Mail Clerk 
ZUCTOMOmi.E OPERATING 
ZlAnto Repairing 
^Navigation IDSpanlsh 
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EXUAL 
NOWLEDGE 



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Cloth binding — 320 pages — many illustrations 

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When you write to advertisers please mention PHOTOPLAY MAGAZINE. 




Victor Georg 



77' LSIE FERGUSON, equally successful before camera and footlights, is another 
mj human proof of the once-disputed fact that the finest subtleties of spoken lines 
can be put into complete photographic translation by a woman with brains. 




Alireil Cheney Johnston 



T)AUL HELLEU, dry-point etcher, called Rubye de Renter "the most beautiful 
A woman since Venus." Discounting gallantry, we still behold a lovely creature. 
She went from "The Follies" to the leading role in the pictured "Auction Block." 





TJNRICO CARUSO'S spirit of fun, imprisoned in 
JLLi opera, is as big as his voice. The camera will 
find this, jor his first scenario was built that way. 



Lewis Smith 

70HN BARRYMORE, beneath his tip-to-date 
humor, has the spiritual as well as physical fibre 
of the great classic actors. There are few like him. 





ONE frequently uses pages calling a man a fair 
actor. To call a man a great actor takes three 
words. Raymond Hatton is a great actor. 



T? K. LINCOLN is a talented photoplayer — but 
jj. did you know that he is wealthy? The small 
noise he makes about his possessions is remarkable. 




A NNE LUTHER, often called a Western girl, was bom in New Jersey, went West 
il early, and recently came East. She is as rick in genuine Titian hair as Croesus 
was in gold. "Her Moment" is her latest photoplay. 




T? DITH JOHNSON is a dark-eyed blonde, and they say they're as dangerous as 
t^j a submarine artlessly wearing a barrel over its periscope. She worked at Vassar, 
and has received degrees from Lubin, Selig, Bison and Bluebird. 




77* A Y TINCHER is a rare comedienne. She has ornamented a few good photo- 
F plays, and saved scores of mediocrities. Her Dulcinea, in De Wolf Hopper's 
ill-starred "Don Quixote," put the very spirit of Cervantes into a poor scenario. 







Alfred Cheney Johnston 



r~Tl HIS, as the nearest-sighted among you has probably guessed, is a sunlight replica 
1 of Constance Talmadge. Most everything has been said that can be said about 
the Talmadge team. Now go ahead — write your own caption. 



THE WORLD'S LEADING MOVING PICTURE MAGAZINE 

PHOTOPLAY 



VOL. XIV 



OCTOBER, 1918 



NO. 5 





QJewr 



' Uppreciation! 




THE Fourth Liberty Loan is due. 
To subscribe to that Loan is not only the duty of every earning man and woman 
in the United States, but the plainest form of common-sense, for the individual who 
refuses to protect his possessions or his home deserves to have neither home nor possessions. 

Only a few weeks ago the Government of the United States saved the Motion 
Picture — for you. By classing it as an essential industry the Government preserved 
for the country a stupendous factor of recreation and instruction, though that preserva* 
tion diverted from its own enormous needs thousands of strong men and millions of 
dollars. It is true that the act was an official tribute to the social power of the newest 
and most human art, but the fact remains that Washington was absolute in its right 
to do either thing. It chose to preserve, to cherish, to encourage the Motion Picture 
through the greatest crisis in man-and-money power that we shall ever experience, and 
history alone will shed a true light on the impartial wisdom of that choice. 

You are, of course, going to fulfil your natural obligation to yourself, your country 
and your family in the Fourth Liberty Loan, but when you have done that, go one 
step further: 

Bond your appreciation! 

Buy at least one extra bond to express your than\s to the Government for a per* 
sonal service to you — a service apart from its salvation of your freedom, your women s 
honor and your children's future. 

This month the Motion Picture industry will ma\e the biggest patriotic endeavor 
of its career. Every first-magnate star will contribute a film of his or her own, based 
on a contributed scenario by an author of established reputation. Every producer has 
volunteered for any necessary service. Every exhibitor has pledged his theatre. 

This is not a "Victory" loan nor a "Peace" loan. This is a "Fight!" loan, and 
that Government which is fighting furiously for you with its right hand, is, with its left, 
holding inviolate your great constructive diversion of peace times. Remembering this — 

Bond your appreciation! 




oAdvisory Matrons 



Cardinal Gibbons, Head of Catholic Church in America, Baltimore, Md, 

Samuel Gompers, Pres. American Federation of Labor, Washington, D. C, 

Mrs. George Thacher Guernsey, Pres. Gen. Daughters American Revolution, Washington, D. C. 

Daniel Carter Beard, National Scout Commissioner, Boy Scouts of America, Flushing, L. I. 

John Barrett, Dir. Gen. Pan-American Union, Washington, D. C. 

Marchioness of Aberdeen and Temair, Pres. International Council of Women, Haddoo House, 
Scotland. 

Charles S. Barrett, Pres. Farmers' Educational and Co-operative Union, Union City, Georgia. 

Mrs. Phillip North Moore, Pres. National Council of Women, Member National Council of Defense, 
Washington, D. C. 

Samuel A. Dickie, Pres. Assn. of Methodist College Presidents, Albion, Michigan. 

Carrie Chapman Catt, Pres. National Suffrage Assn., Member National Council of Defense, New York. 
City. 

Rabbi Hirsch, Head of Jewish Church, St. Louis, Mo. 

Mrs. Helen Collins, President Pan Hellenic Union, Chi Omega Fraternity, Lexington, Kentucky. 

Mrs. Nathaniel E. Harris, Pres. National Council of Jewish Women, Bradford, Pa. 

Mrs. Harriet H. Barry, Chairman, Better Film Com., National Federation College Women, Mon- 
rovia, Cal. 



The Photo 



(§) Underwood 
& Underwood 



Samuel Gompers, 
president of the 
American Federa- 
tion of Labor. ■ 



of A 



m 



Start a Photoplay League 
in Your Town 

ORGANIZE a branch of the Photoplay League 
of America. Take the matter up with your 
friends who are devotees of the motion picture, and 
if other organizations in your city have Better Film 
Committees, co-operate with them. Send to the 
Editor of this Department for a sample Constitu- 
tion and By-Laws, and after you are organized you 
will receive an engraved charter which will give you 
official standing. The news of your league and hun- 
dreds of others will be found monthly in Photoplay. 
Reviews of the best plays will be given. Address 
Mrs. Myra Kingman Miller, 185 Madison Avenue, 
New York City. 




By Myra 



Mrs. Harriet H. Barry, chairman Better Film Com- 
mittee, National Federation of College Women. 

22 



LAST month Photoplay Magazine made the first announce- 
ment of the formation of the Photoplay League of America 
— a co-operative, practical association of the patrons of the 
country's photoplay theatres, on behalf of cleaner, better 
pictures. 

A month ago the Photoplay League of America was a happy 
thought — a big, fortunate idea. 

Today it is an actual, existing force in screen affairs with more 
than three hundred branches making its benign influence felt from 
the Atlantic to the Pacific. It is growing at an unheard of rate — 
comparable only to the advance of the motion picture itself. 

This league is the national clearing house for any and all the 
better film movements, cinema and photoplay clubs, or organiza- 
tions. It is a big, broad inclusive organization pregnant with the 
spirit of the age — democracy. 

While the league welcomes the reports of any and all better film 
movements, it is composed directly of our local branches, chapters or 
clubs in individual communities. These are given advice, suggestions, 
and information by the national organization which also furnishes them 
with a constitution, by-laws, a charter, a plan of study, and outline 
of work. 

After carefully reviewing the field of magazines, and examining their 
methods of procedure and contents, the league decided that Photoplay 
Magazine was the publication for its purposes. After consultation with 
the publisher, whom they found heartily in sympathy with their pur- 
poses, Photoplay was made the offcial organ of the Photoplay League 
of America. 

For years this publication has been the leader in the fight for better 
pictures, and its publisher has directed all the influence and power of 
its pages toward the practical uplifting of the screen. 

The present officers of the league ere: James R. Quirk, publisher of 
Photoplay Magazine, of Chicago, President; Mrs. Harriet H. Barry, 
of Monrovia, California, Chairman of the Better Film Committee of the 
National Federation of College Women, Vice President; Mrs. Myra King- 
man Miller, of New York City, Chairman of the Better Film Committee 
of the National Council of Women, Executive Secretary. The list of 
honorary and advisory patrons is given elsewhere in these pages. 

A glance over these names demonstrates the fact that some of the 
greatest leaders of thought in America are now concerned with the motion 
picture as a great and popular moulder of thought. 

These names prove that the great leaders of thought in America are 
cognizant of the tremendous influence of the screen. They realize the 
motion picture now ranks with the newspaper as a moulder of thought, 
and just as it holds great potentialities for good, in direct ratio it can 
be harmful if neglected or harassed with unconstructive criticism. A 
great river, if neglected, may rise at flood times and leave destruction 



oAd' 



nsory 



Matrons 



Mrs. A. J. Ochsner, Pres. National Federation of Musical Clubs, Chicago, 111. 
Edwin Hebden, Dept. Education, Bureau of Statistics, Baltimore, Md. 
Thomas Arkle Clark, Pres. North Central Assn. Schools and Colleges, Urbana, 111. 
John H. Phillips, Pres. Southern Educational Council, Birmingham, Ala. 
Mary Garrett Hay, Chairman Woman Suffrage Party, New York City. 
P. H. Callahan, War Activity Committee Knights of Columbus, Louisville, Ky. 
David Starr Jordan, President Emeritus Leland Stanford University, Palo, Alto, Cal. 
Mary E. Woolley, Mount Holyoke College, S. Hadley, Mass. 

Mrs. Flora Warren Seymour, Representative National Association Women Lawyers and Corres- 
ponding Secretary National Federation College Women, Chicago, III. 
Charles Sumner Burch, Suffragan Bishop, New York City. 
Mary Roberts Rinehart, Novelist, New York. 

Sophie Irene Loeb, Editor and Publicist, New York World, New York City. 
Mrs. Mabel Potter Daggett, Author "Women Wanted," New York City. 
James Egbert, Professor Columbia University, New York'City. 



play League 



erica 

Kingman Miller 



Mary Roberts Rinehart, 
novelist. 



and waste in its path. But by the application of public interest 
and skillful engineering it can make the wheels of industry move, 
can transport great cargoes, and make deserts bloom. 

The mission of the camera is almost identical with that of the 
printing press. The Motion Picture is the Fifth Estate. 

These men and women are representative leaders in all the big 
constructive movements and activities of the American People. 
The fact that they associate their names with the organization 
gives it a stability, and a standing with the greatest movements of 
the day. The league is not a figment of the imagination but it is 
a big live organization with a definite purpose which it has set out 
to accomplish with typical vigorous American methods, and the 
results thus far obtained are highly gratifying. 

It is purely ethical. There are no dues. Its policy is con- 
structive and up-building, at any and all times, rather than de- 
structive and critical. The mathematical adage that where "there 
is elimination there must be substitution" in order to keep up the 
value of a given quantity proves true in all better film work. In other 
words, the best way to decrease the showing of the undesirable films is 
by increasing the attendance to and the output of the desirable ones. 

It has long since been self-evident that the ultimate answer to the 
better film problem is patronage. The exhibitor does not exist who 
would not gladly show continually the best films made if they brought 
him in an equal or larger amount of box office receipts. 

The League does not intend to advertise objectionable films by wast- 
ing time or space on them. 

Some two years ago, in literature issued by the National Federation 
of College Women, they made the following announcement: "We rec- 
ognize that the Motion Picture screen is the greatest factor in the world 
today in the education of the masses, and as such it demands our atten- 
tion and influence." This recognition on the part of an organization of 
thinking women of the United States was a forward step for the industry 
especially as it was followed by the statement that the Committee was 
to be headed "by a woman of power, influence and great executive 
ability." She would not read at their next biennial an insipid account 
of "findings" but would give an account of real established facts and 
perhaps accomplishments. How this organization decided to proceed 
will be told in these columns for the benefit of others in another issue 
but suffice to say that their contribution to the League's information 
bureau has been most gratefully received. The many and various divi- 
sions of the better film workers in the General Federation of Women's 
Clubs who have made surveys and have done practical work in bulletin- 
ing have also been very encouraging. 

The correspondence of the first Committee of the National Council of 
Women adds largely also, while the fund of information on the good 
methods coming from the Community Motion Picture Bureau and the 




Underwood 
& Underwood 



THE Photoplay League of America is an organ- 
ization of intelligent people who, realizing the 
tremendous influence that the screen now exerts and 
the great force" that it is to be in the future, have 
interested themselves in an effort to aid in a con- 
structive manner in the development of the new art 
and industry. 

IT is not enough to criticise and discourage your 
exhibitor when he shows inferior pictures. You 
must prove to him that good pictures will increase 
his attendance. You must give him organized en- 
couragement, real encouragement, in the shape of 
increased attendance. If you do not do this, you 
have failed. 

JAMES R. QUIRK, Pres. 

Photoplay League of America. 




Cardinal Gibbons, head of the Catholic Church in 
America. 

23 






24 

Better Film Committee of the Na- 
tional Board of Review, have also 
given most excellent and varied 
lights on the subject, and so the 
League presents itself to you a force 
to be welcomed and thoroughly re- 
spected. It wishes it to be distinctly 
understood that it is no iconoclastic 
movement but a practical forward- 
looking organization, all American, 
thoroughly patriotic, loyal, sincere, 
uplifting, enthusiastic, conscientious, 
and we hope inspiring. 

If your exhibitor at present is not 
disposed to show some certain new 
picture in which you are interested, 
you will find that he will be more 
than glad to do so when he is con- 
fronted by an organized body of en- 
thusiasts. Make your plans to at- 
tend the show in a group or body, 
and afterwards discuss its merits and 
deficiencies. Study the art of the 
actors and you will soon find that 



Photoplay Magazine 




Myra Kingman Miller, 

Executive Secretary of The Photoplay 
League of America, and editor of this 
department, is one of the pioneers of the 
better film movement. She built and oper- 
ated the first photoplay theatre for children; 
is president of the National Federation of 
College Women, and chairman of the Better 
Films Committee of the National Council of 
Women (representing 7,000,000 members); 
is a member of the Woman's Committee of 
the National Council of Defence. 



your interest is growing, your know- 
ledge is broadening, your pleasure in- 
creasing, your influence extending to 
such a degree that once a month will 
seem too seldom to meet and your 
plans will include a weekly or fort- 
nightly meeting. 

Through Photoplay Magazine, 
the League is able to reach over 
1,000,000 readers and will be able to 
send its monthly message to its own 
members without the expense of post- 
age on individual bulletins. Personal 
letters of inquiry addressed to the 
Executive Secretary, who is also 
Editor of this Department, will be 
promptly answered if an addressed, 
stamped envelope is inclosed. She 
will be glad to help you in any way 
possible in your efforts to organize 
and conduct a Branch League. Be 
the first to get this movement started 
in your city, and report your expe- 
riences for the benefit of others. 



Uncle Sam Wants Screen Stories 



UNCLE SAM is very anxious to obtain motion picture 
stories. They must be written around themes that will 
be helpful to the United States and her Allies in various 
forms of war work. 

Suitable subjects would be such as would have the effect 
of speeding up labor in shipyards, munition plants and 
other forms of Government work, stories that would be of 
material assistance in Liberty Loans, War Savings Stamps 
and other drives and stories that could be utilized to 



advantage in the foreign work of the Division of Films — 
especially good stories that fit present day conditions in 
Russia, Italy, Mexico and Central and South America. 

Not only will these pictures be shown in the United 
States but also in every Allied country and every neutral 
country. 

Bare plots in brief synopsis form are all that is required. 
Submit all stories to James Vincent. Secretary, Advisory 
Board, Division of Films, Times Building. New York City. 




Roses f o r 
Charlie 



o 



NE high light of Madame Olga 
Petrova's cross country tour on 
behalf of the War Savings 
Stamp drive was the visit paid 
to the Chaplin Studios in Hollywood, 
where she watched Charlie make a scene 
for his second comedy "Shoulder Arms." 
The tireless energy of the little come- 
dian opened the eyes of Madame Petrova. 
"Mr. Chaplin is not only the greatest 
artist of the screen, but he is one of the 
greatest artists of the dramatic world," said 
Madame, "and it was he who converted me 
from a feeling of hostility toward the films, to 
a realization of their great possibilities. A 
Chaplin comedy that I saw by chance 
aroused my enthusiasm for motion pictures." 
And Madame Petrova approached him and 
placed a rose on his coat. 

A few years ago, Madame Petrova was 
a performer under the management of 
Fred Karno, the well known English pro- 
ducer, who also was the one who first 
featured Charlie Chaplin, in the classic 
"Night in an English Music Hall." 




Many a railroad president has driven the last spike, but Caruso 

pulled a new twist on an old thing by driving the last nail in his 

first set at the Famous Players Studio on 56th Street, in New 

York City. Caruso at left, Jesse Lasky at right. 

"Cousin Cams" 

In The Land 

Of Lights 



THE thing which Geraldine Farrar began has been fin- 
ished by Enrico Caruso. The young American 
prima-donna was the first operatic star of premier 
magnitude to really appreciate the motion picture as a pro- 
foundly valuable medium not only for re-creating, but per- 
petuating expression; Caruso, the greatest operatic star of 
modern times, has now enthusiastically tumbled into the 
optic fold, and the conquest is complete. 

When these lines reach Photoplay's readers 
Caruso will — if he keeps his schedule — have prac- 
tically finished his first Zukor-Lasky play. He 
commenced work in the afternoon of Wednesday, 
July 17th. The first picture is a comedy-drama 
of New York called "Cousin Carus.' " 

Jesse Lasky is responsible for "Cousin Cams' " 
— title, idea and all save its mechanical working- 
out. Lasky realized, with a shrewd showman's in- 
stinct, that if people go to see Caruso on the screen they will go to see 
Caruso. To millions of people Caruso has been a voice and a name, but 
never a personality. Bringing the actual personality of Caruso before the 
American public was the task to which Lasky devoted himself. A French- 
speaking company will support Caruso, and Edward Jose will be his director 



Above — Caruso's 
sketch of his sunshine 
padrone, made with a 
pencil on the back of 
an envelope without 
the subject's know' 
edge, while Mr. Lasky 
was showing him 
about the studio. 



25 



"If You Have No Farm, 

BorrOW One" Says Edward Earle 



One cannot bt 
proper nowa- 
days unless he 




Mr. Earle counts out (borrowed) eggs to his (borrowed) hired man. 

I HAVE been a little bit unfortunate in my acquire- 
ment of property. I have an automobile and a flat 
in New York and some Liberty Bonds — but I have 
no farm. I might just as well have nothing to wear; 
that is to say, this season. Everyone has a farm. All the 
actors I know have been photographed at work raising 
vegetables and things to help Mr. Hoover. All the actresses 
I know raise onions and wear trouserettes. To be shot 
by a photographer among the radishes and lettuce is their 
idea of a happy finish. The still more ambitious show 
how they're raising fowls and dairy cattle. I know a 

26 



Mr. Earle, feeding (borrowed) corn to his (borrowed) hens. 
— Insert above : Notice the little (borrowed) dog and the 
(borrowed) egg? The little dog is a terrible egg thief. 
You can see a wicked yolk-lust in his eyes right now. 

woman who last year lifted nothing heavier than a 
cigarette — and this year she's making pounds of 
butter a week. Or at least she was photographed 
that way. 

But there's a way around every difficulty, and 
I've walked around mine if I couldn't walk through 
and over it. 

I've borrowed a farm. 

It belongs to a friend of mine near Farming- 
dale, Long Island. Since I was borrowing, I 
thought I might as well borrow a whiz — and I did. 
It has hundreds of acres. Chickens and Belgian 
hares are its specialty. It has a huge series-in- 
cubator that accommodates 75,000 eggs at a time. Some 
hen! Its rabbits are worth $500 apiece. 

I wish to announce that I am now ready to be photo- 
graphed *is (A) farmer; (B) chicken raiser; (C) Belgian 
hare expert; (D) dairyman; (E) dog fancier; (F) assort- 
ments and combinations of foregoing. Special attention 
paid to lot and job orders. 

My (borrowed) incubator is in full blast now. I've had 
an awful thought about that incubator: what a terrible 
weapon it would be for a man to trundle to a bad show — 
or any show where he didn't like the actors! 



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Alfred Cheney Johnston 



Miss Clayton looks xs though she had just stepped off a magazine cover. 

Friends Everywhere 

Marguerite Clayton did not find J^ew Tor\ heartless 
as pictured. The bus conductor called her sis, even. 

By Dorothy Scott 



w 



*HEN I was in California," confided Mar- 
guerite Clayton, "do you know, I was almost 
afraid to leave for New York. Out there, 
they told me that Eastern people were heart- 
less and cold to strangers and that the climate was awful 
and that anyway it was no place for a girl alone. Now 
here I am, perfectly safe and happy and in the very heart 
of New York and in an artist's studio at that." 

Here she was, indeed. Nothing could be more typical 
of the heart of New York than the Beaux Arts apartments 
and the studio belongs to Haskell Coffin and looks exactly 
like an illustration from a Robert Chambers novel. Miss 
Clayton was perched on a high stool with a torn straw 
l\at on her head and her hair over her shoulders posing for 
the cover of the October number of Photoplay. There 



was a gay little blaze in the huge fire-place, a bowl of 
field-flowers on the table and a canary singing somewhere 
in another room. In the midst of all this, sat Mr. Coffin, 
sketching sedately and trying not to look like Miss Clay- 
ton's idea of an artist-villain. It would be impossible to 
imagine anything more correct and friendly and less like 
a scene from "The Terrors of New York." 

Miss Clayton looks as if she had just stepped off a maga- 
zine cover even when she is not posing for one. You al- 
most expected to see "April Number. 20 Cents" printed 
somewhere above her head. She is all pink and white and 
sky-blue and yellow — exactly the combination of colors 
to gladden a newsstand. And her expression radiates 
cheerfulness especially when she is talking about New 
York. 

27 



28 



Photoplay Magazine 




and woolly rolls of the desert 
country. Above — in "Hit- 
the-Trail Holliday." At 
right — the Marguerite 
Clayton of the old days. 



"My first idea of the City was 

all wrong," she Went on. "YOU Her work in New York has 
know the Sort of thing you read been a far ay from the wild 

in novels and sometimes see on 
the screen. They always call 
the City 'the vortex' or 'Babylon', 
and picture people like me lost 
in its whirl. When I got off the 
pullman at the Pennsylvania station for the first 
time, my teeth were chattering and I felt like the 
heroine in Reel One who is barely saved from an 
awful fate in Reel Five. Fortunately, a girl friend 
was there to meet me and when I told her I was 
frightened, she laughed. We took a bus up-town 
and the conductor found a seat for us and called me 
'sis' and told me to watch my step. And the minute 
I saw Fifth Avenue, all smiling and friendly in 
the sunshine, I knew that I was going to love New 
York always." 

"As soon as you know a person well enough," 
she said, "they will tell you about the time they >' 
were broke in New York. Someone has always 
helped them and then when they arrive they remem- 
ber that time and help the next one. It's like the line in 
the 'Twelve Pound Look' where 'you think "poor soul" 
of them and they think "poor soul" of you and that 
keeps you human.' But you don't stay a poor soul 
long," Miss Clayton added gravely. "If you really 
want to, sooner or later you are bound to succeed. 
That is what I felt in the air from the top of that bus." 

Her own success has more than justified that 
feeling. Most of her training came from the West 
which accounts for her fresh viewpoint. She was 
born in Salt Lake City where she began her work 
on the stage almost before she can remember. 

"I used to sing in the big Tabernacle there," she 
told me, "when I was so little that I didn't know 
enough to be scared. Then I went into musical 




comedy and one day I saw an ad in a 
Los Angeles paper asking for moving 
picture actresses. I didn't tell anyone 
about it, but I went over to the studio 
(it was really a barn in those days) and 
applied for the job. Mr. Anderson ac- 
cepted me in spite of my lack of ex- 
perience and that began my work in 
the Broncho Billy pictures. It was en- 
tirely new work and lots of fun. For a 
while I thought I would never get tired 
of being rescued from Indians and 
things. But, while I am glad of the ex- 
perience, I wouldn't go back to Western 
stuff for the world." 

There is a picturesque contrast be- 
tween the chaps and sombrero of the 
Broncho Billy days and the little mani- 
cure girl in the Artcraft production of 
"Hit-the-Trail-Holliday," with George 
M. Cohan. Miss Clayton adores such 
contrasts. She is determined not to be 
identified with one type of character 
that will prevent her from playing 
any other type that has ever 
been invented. 

On the way back to the 
office I moralized to myself 
like the Duchess in "Alice 
in Wonderland." It was a 
neat sermon to the effect 
that we get out of a specific 
place exactly what we take 
there and that the City is 
really a mirror which re- 
flects the face you 
bring to it. The sin- 
cere worker who 
intends to do her 






/ 



very best and to 
help others be- 
sides will find 
— exactly what 
Miss Clayton 
found. As soon 
as you meet her 
you understand 
why she thinks 
New York such 
ace. 




A scene from one of her early western Essanay short reelers. 



The New American Face 



Captain Robert Warwic\ calls attention to a new 
romantic type, being evolved by the War 



W 



'AR, - ' said Captain Robert Warwick, recently 
visiting New York after a visit to the theatre 
of war, "is making a new type of human face 
— or rather remaking the features of men, 
building upon the old foundations a new superstructure of 
character. 

"I think we do not talk enough about the good which 
comes out of war. Of course, at best, war is a blight which 
none of us would seek and yet there are advantages which 
spring from it. Not the least of these is the moulding of 
young manhood. 

"Unquestionably, when the war is over the men who 
come back will be better men. They will take a new in- 
terest in all the calls of citizenship, they will understand 
as never before the blessings of a democratic form of 
government. They will make better husbands and 
better fathers for what they have been called to go 
through on the battlefield. The domestic side of their 
natures are being developed and home will mean 
everything to them when they come back. 

"There is in New York a photographer who has 
always specialized in making portraits of men. Being 
a man of considerable wealth, he was in a position to 
select his own subjects, and he often refused to photo- 
graph men whose faces did not interest him. Particularly 
was this true with younger men. 

" 'The young American,' he said once, 'especially of the 
better class, or at least of the wealthier class, is not an 
interesting subject for the artist. His features are fine 
enough, regular, strong, and all that sort of conventional 
thing, but they lack character. They betray the entire 
absence of any policy toward life. They suggest a lack 
of governing motive.' 

"Then came the war. Many young men in uniform 
wanted to have portraits to leave with their families 
before sailing for France. It is, perhaps, understood, 
that none but the wealthiest could afford to patronize 
the photographer of whom I 
speak. At first he simply refused 
without discussing the matter. 
Then, he says, he began to notice 
a change in the faces of these 
young tango stars. 

" 'The young man in uniform,' 



Right — a very recent 
portrait of Captain War- 
wick in the "make up" 
of his new profession. 
Below — " Bob " in a 
• Scene from "The Silent 
Master", with Ann 
Little. 




said he, 'is no longer the stage hero of musical comedy. 
The American drafted soldier is more of a man than either 
the soldier we have known, or the man we have known. 
He is thinking. He knows the world is aflame, and that 
he is going into that fire. We are evolving a new type 
of American face, and behind that face a new type of 
American brain.' 

"One unique incident at this studio concerned a young 
officer who was accompanied by an adoring mother and 
sister, very gushing. They told the artist that they wanted 
a photograph that would make 'Dear Richard' look just as 
handsome as possible. The photographer had consented 
to the sitting previously, and there was no way out. So 
when he finished the negatives, in one 
of them he retouched out all the lines 
of character, and produced a proof 
as beautiful as a picture in the latest 
catalogue of hand-me-down clothes. 
"'Oh, that's darling!' Mamma 
H* and Sis exclaimed. 'That's the 
one we want.' 

"The artist calmly ripped the 
proof into a dozen bits. T don't 
make that kind of picture.' ' 
Captain Bob is back in France 
now. His knowledge of French 
has made him a valu- 
able aide at the 
American 
headquar- 
ters. 





29 



*V^i 




Behind the 
Guns 



Uncle Sam's second great 
instructive film, "America's 
Answer", reveals a fighting 
unit of amazing proportions 



Photos by Division of Films, Com- 
mittee on Public Information. 



BEHIND the front line trenches — what? 
A vast army of construction and recon- 
struction — thousands of men, and even 
women, from all professions, applying their 
knowledge to the service of the fighting 
divisions. Whether a new bridge is needed, 
or a button to be sewed on, the great army 
of non-combatants is ever at hand to serve. 
The pictures on these pages are from 
the second government film, "America's 
Answer." 




Not so very long ago an appeal went out 
from our War Department for telephone 
operators with a speaking knowledge of 
French. The girls you see in the circle are 
six of those who responded — now in actual 
service in France 



30 



The American salvage department in France is an unrealized phaze of our war ma- 
chinery. Shown at the upper left is a heap of thousands upon thousands of worn-out 
shoes— discarded by Sammies in France. As they utilize everything but the squeak in 
Chicago pork packing plants, so everything but the holes is turned to account in these 
shoes. Bottoms are removed and new bottoms sewed to old uppers, and when the 
uppers have gone they are run through a cutting machine, and the remnant leather is 
made into laces and things, while every nail and wooden peg is extracted from the 
soles to be used over again. And so with worn-out clothing Above is shown a 
section of one of the vast sorting rooms in France where eager French women help in 
the work of reviving soldiers' shirts and undergarments 




The interesting thing about this railway 
freight depot is that th» floor- level concrete- 
and-dirt loading way is hundreds of yards long 
and was built in a short time by American 
engineers at a rail head. 



A tremendous amount of actual con- 
struction is necessary in handling even 
the lightest field artillery in France. 
The embrasure and the bush-camou- 
flaged wall seen here are a fragment 
of literally scores of miles of such 
construction by American Engineers. 



We think of this as an age of gaso- 
line — but a large department of 
leather experts went overseas to look after the 
valuable harness leather of the hundreds of 
thousands of our horses and mules. 




An Estate in 
Sunny Calif— 

No! No! 



NEW YORK actors live in apart- 
ments; California actors live on 
estates. That's accepted as a truism. 
But it isn't true. For instance: Pearl 
White has just leased a picturesque old 
place at Bayside, Long Island. It com- 
prises seventeen acres with a grand old 
house of twenty great rooms, dating 
back to the middle of the last century. 

Photography by White, N. Y. 



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A great hedge of flowering trees and shrubs 
near the stables. The vine-covered patriarchs 
of the forest in the background are, at a distance, 
reminiscent of the palm-trunks of the Pacific 
Coast. The visitor? Major Wallace Mc- 
Cutcheon, one of the most renowned American 
heroes of the British Army, home on furlough 
to completely recover from shrapnel and gas. 



32 




On one side of the old mansion the eye falls upon rolling field and woodland; on the other the only 

thing to see is the splendid expanse of Long Island Sound, for Miss White's private bathing beach 

lies directly below the four straight little trees in the right background. 




The lawn is so all-fired 
big that takes a horse- 
drawn clipper to trim it. 
This is one of the duties 
of the estate that Miss 
White rigidly reserves for 
herself. Yes — Miss 
White in the overalls. 



Pearl White is a perennial in pictures. She 
goes on year from year, with the same fire, 
force and magnetism. Whenever you see a 
picture of Pearl White in athletic attire it's 
real. The press-agent may have taken ad- 
vantage of her outdoor prowess, but he is 
not the cause of it. This picture is real. It 
was taken at 1 1 o'clock on the morning of 
June 28th, 19 18, as Miss White was return- 
ing from the Bayside golf grounds. 



' 



33 



Raymond Hitchcock to 
Return to Pictures? 



tt 



^^0¥fy : i 



"Hitchy Koo" is indignant that any- 
one would dare to say hell not. 



•^ 



Oval at right — Mrs. Hitchcock, in the 
tennis-court on the grounds of their Long 
Island home. Before her marriage Mrs. 
Hitchcock was a renowned comedienne, 
Flora Zabelle, the daughter of M. Man- 
gasarian, an Armenian clergyman, of 
international reputation. 

Everything this parrot says sounds like 
"Hitchy Koo." There is more than a 
suspicion that the name of the show 
came out of this very cage. Oval below — 
Mr. Hitchcock in an old Sennett comedy. 



-H 



V 



... t \ 






RAYMOND HITCHCOCK is, as you read these lines, the 
pet comedian of New York City. "Hitchy Koo," the 
conglomeration which took most of its name from his moniker, 
has gone into its second edition and second year. 

Some years ago Mr. Hitchcock had a more or less mild 
experience in screen comedy of the (then) Keystone brand, 
and since that time the common report has been that he, in 
common with DeWolf Hopper, Willie Collier, and some other 
gentlemen of equal lustre, considered the photoplay, serious 
or comic, an eternal monstrosity. 

We asked Mr. Hitchcock, at lunch the other day, if he 
thought he might .... under certain conditions. . . 

"Who said I'd left pictures?" rumbled the comedian. 
"There's hardly a day of my life that I don't think of pictures, 
and myself in them, in some way that I can really get across. 
I've never stopped believing in the screen for a moment, and I 
have never considered my screen career closed. I hate to be 
beaten by anything, and when I find what seems to me the 
right vehicle no Broadway engagement — no amount of stage 
work — is going to stop me from making more photoplays." 



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34 



"Let's Get Together -Everybody!' 



Rothapfel, who is the biggest individual among the 
exhibitors, declares that a lac\ of co-operation 
bringing the Photoplay to a standstill. 

By Lieutenant Samuel Rothapfel 

(Reserve Corps, U. S. Marines.) 



( Editor's Note : Sam Rothapfel is not a universally popular 
fellow, in spite of the fact that he is New York's foremost exhib- 
itor, and probably the most spectacular success of his kind in the 
world. Other exhibitors — to put it in their words — think 
Rothapfel is a nut. The producers used to think him a crazy 
egotist who criticized their films and tore them to pieces to satisfy 
his own vanity. Rothapfel's accomplishments have justified most 
of his stunts. In his two theatres, the Rivoli and the Rialto, he 
has the finest playhouses of the screen. Rothapfel came out of 
Pennsylvania to be a hired man for Mitchell Mark, who inaugu- 
rated the New York Strand, the first of the really big picture 
playhouses. Rothapfel created the Strand's policy and afterwards 
went on his own with the Rialto. While we differ with some of 
his opinions, there is a straight-to-the-nose hit to this stuff which 
brings out a few truths which may be unpleasant but are not 
unwholesome to hear.) 




Campbell 



I HAVE been in the motion picture business ten years, 
and from a beginning in the smallest sort of way I 
have attained a most peculiar position, in that I have 
directed five houses in New York City in the past five 
years, and have thus been brought into constant, intimate 
contact with producer, star and public alike. This is not 
possible in any other place in the world, so you see I am 
to a degree an opportunist; and I think that any opinion 
of mine should be prefaced by that explanation, for my 
opinions are not theories, or the result of one-sided observa- 
tions, but are founded on the facts of all sides as I have 
observed them. 

As I look upon the net results today I am somewhat dis- 
couraged, to say the least, because of the fact that in the 
past year there has been no progress. The business today 
is at a standstill and will be unless heroic measures are 
taken. The manufacturer 
is not making any money; 
the cost of distribution for 
the exchanges is rising 
every day; few theatres 
are really making any 
money and the critics of 
the motion picture are con- 
demning it right and left 
and sometimes not without 
reason. In my opinion, 
the fault lies mostly with 
the exhibitor himself be- 
cause he will not advance, 
he will not make the most 
of his opportunity, he will 
not try to step out in an- 
other direction but has 
stayed in his little rut and 
grown there, still exhibit- 



T IEUT. ROTHAPFEL will have a lot 
*— ' of dissenters on this remark — yet it has 
a grain of bitter exhibitorial philosophy: 

"It is a great mistake to try to give the 
public what it wants, for two very good 
reasons: First because you don't know what 
it wants, and second, because the public 
itself doesn't know what it wants." 

On the other hand, David Wark Griffith 
recently advised a rising young director: 
"The public knows what it wants. Give it 
to them. If you don't you will surely fail." 

Both Mr. Griffith and Mr. Rothapfel 
are successes. 

Isn't life the darndest riddle! 



ing his pictures as he did years ago. He has made no 
effort to individualize, or if he has it has not been apparent 
except in a few cases. Unless he gets a star or a feature 
attraction he hardly makes his expenses. 

There has not been proper co-operation between the 
newspapers and the exhibitor, nor between the exhibitor 
and producer, and as far as this is concerned the producer 
is just as much at fault as the exhibitor is. Instead of 
their relations being absolutely harmonious they have been 
strained. The producer has been and is making pictures 
purely from a commercial standpoint. Idealism has gone 
to the winds. He has been giving the exhibitor what the 
exhibitor thought he wanted and the exhibitor, like the 
public, has not known what he wanted. 

I have said many times that it is a great mistake to try 
to give the public what it wants. It is a mistake for two 
very good reasons, first because you don't 
know what it wants, and second, because 
the public itself doesn't know what it 
wants. 

I think the greatest fault of the whole 
industry just now is that it is bound 
hand and foot by precedent. There is 
no idealism, no initiative, no daring, and 
not enough artistry. 

There is too much of the "movie" idea 
and not enough appeal to the imagina- 
tion. 

Exhibitor and producer today must 
give the public credit for knowing as 
much about the industry as they them- 
selves do. There must be a decided 
change for the better, or else backward 
we go. The day of the advertised star is 
past, the day of the cheap theatre is past, 
tomorrow the exhibitor will have to be 



35 



36 



Photoplay Magazine 




Above — proscenium and stage of 

the Rivoli. At right, foyer of 

the Rialto. Both ara Rothapfel 

houses, in New York. 



an intelligent, clean cut, 
snappy business man with a 
touch of artistry. If he himself 
hasn't those qualities he must em- 
ploy someone who has. He must con 
duct his theatres on the most modern, whole- 
some and artistic basis. If he does that he will reap many 
rewards. 

The producer must step forward at once and stop play- 
ing up the silly little ingenue and the matinee hero type of 
male star. 

He must become more serious. He must employ people 
who can portray characters and really act and he must not 
twist scenarios and stories around to fit these so-called 
stars. If they are really stars they will portray the char- 
acter! We must have good stories, and we must photo- 
graph behind the eye, — not in front of it. We must have 
personality and common sense and we must give the mov- 
ing picture public credit for having imagination and lots 
of it. We must be more subtle and less obvious. We 
must, above all things, strive for a certain idealism. We 
must stop deceiving ourselves, grit our teeth, look the sit- 
uation squarely in the face, dig our toes in the ground and 
GO FORWARD. When we do, the motion picture will 
take its rightful place as the greatest art of the new cen- 
tury — and unless we do these things, it won't. 

I have exhibited pictures that did not belong in my 
theatres, but I have always done so with the sincere feeling 
that I was doing the best for my institution. When a 



picture plays in the Rialto or Rivoli 
Theatre it plays there because I believe in 
the picture. 

I am an optimist first, last and all the 
time. I believe in the motion picture as I 
believe in nothing else on earth. I love it, 
I have devoted my whole life to it and will 
devote my whole life to it. Some day, per- 
haps in the near future I may try my hand 
at producing. Whether or not I will make 
a success remains to be seen. I honestly 
believe that I can make a success because 
I will employ the same fundamental prin- 
ciples in producing as I do in the presenta- 
tion of motion pictures. I oftentimes wish 
that the exhibitors and producers could 
3 know me a little better. I 
their friend and I would do 
anything in my power to help 
them if I thought the request 
was sincere and without 
any ulterior motive. I 
have proved in the past 
that I would go out of 
my way to help a de- 
serving exhibitor. I have 
made tours about the 
country, I have talked to 
them and those who have 
heard me know that I meant 
every word I said and prophe- 
s that I made years ago have 
come true with a vengeance. The 
star will never die because if he or 
she is a real star and has personality he — or she — 
will be in demand. That of course does not mean that all 
pictures must have stars. I earnestly believe that a good 
story well told will succeed whether it has a star or not. 

I believe in higher prices, I believe in better presenta- 
tion, better music, better atmosphere and better environ- 
ment. I believe in publicity, but it must be dignified and 
truthful. , 

Let me say, in conclusion, that this is not a pessimist's 
article. It's an optimist's war-cry! The motion picture, 
it seems to me, is the most wonderful child in the world — 
bubbling with energy, vibrant with promise of the future, 
alive at every pore, and through that life mischievous, 
erratic and susceptible to evil. Our wonderful child is 
naughty — but it is still a wonderful — the most wonderful 
—child. 

I have refrained from any mention of the war in these 
paragraphs because, had our grand old Uncle Sam a 
sentient personality, he would long since have been 
driven out of his mind by getting full blame for every 
misfit, misfire, or misguiding in every industry. He and 
the war are certainly not to blame for the petty evils of 
the screen. 



A Half- Second Satire 



I Went 

1 Into a Photodrome. 

Near Me 

Someone was Saying, 

"Ah— 

These Films! 

These Awful Films of— 

Actually — 

Mothers Playing 

With their Children; 



Girls Going to School; 

Skiing in Norway; 

Plant-life in the Honduras — 

These Terrible Films, — 

Let Us Hope 

That the Censors 

Will Soon Cut them Out 

Altogether. 

As for me, 

I have Only Come Here 



To Write my Report 

For the Society, 

Of Which I am Vice-President." 

"Why," I asked; 

"Why don't You 

Register your Pet Peeve 

At the Box-office?" 

But before 

I had finished, he 

Had Passed Out. 



Before the next ship was 
launched, Tom and Helen 
stood on a little bridge one 
evening and looked over the 
busy scene, where the men 
worked at record - breaking 
speed to win the Government's 
honor flag for their plant. 




The Road to France 

Tom Whitney had been somewhat of a moral derelict 
until he realized that America needed his greatest efforts 

By Jerome Shorey 



N 






'EW man?" the guard at the entrance to the 
Bemis Shipbuilding Company's plant asked. 
Tom admitted that he was. 
"Le' see y'r card." 
A document was produced proving that the bearer. 
Thomas Maiden, was an employe of this branch of the 
Federal Shipbuilding Corporation's activities. 
"Gwan in." 

Tom gwaned in as bidden. It is, perhaps, no credit to 
him that he was away ahead of time, for such is the habit 
of a man with a new job. And the novelty of working for 
a living aroused such a variety of emotions in Tom that it 
required no special effort to get to the scene of his labors 
before the hour set. Besides, he wanted to look around a 
bit, wanted to adjust himself to the idea of working with 
his muscles as a day laborer in the shipyard owned by his 
father's closest rival, owned by the father of the girl he 
loved and now could never marry — such a shipyard as he 
himself would one day have owned if he had not been a 



fool. It was such a birthright he had squandered in a 
single night of dissipation — a reckless night upon which 
he had embarked deliberately — a final fling, as he had 
assured his father and his sweetheart, Helen Bemis, who 
had protested against his idleness and insisted that he 
justify his existence. 

Final was right. Though he had been, doubtless, more 
sinned against than sinning, the fact remained. He had 
awakened from that night of dissipation, his head splitting 
with pain, himself fully clothed, flung across the bed of a 
room in a cheap hotel, — and Mollie sitting there like a 
harpy, waiting for him to wake up and be told he was her 
husband. He was married to a girl he had met in a cabaret, 
whose name he did not even know, further than that she 
was Mollie. He would not believe it until she showed him 
the marriage certificate, and suggested that they break the 
news to his dear papa. Out of that interview, painful as 
it was, one good thing had come — when Mollie learned 
that her husband was disinherited, kicked into the street 

37 



*8 



Photoplay Magazine 



vessel for which all civilization was waiting. This ship 
must be finished, and quickly,— this and the next, and the 
next, and the one after that, and a thousand more, and then 
more thousands, until the fiend of Germany 
shrieked and fled in terror from the wrath of na- 
tions. It meant something now to be a shipbuilder, 
and Tom felt his muscles grow taut — 
muscles he had forgotten existed. He 
looked at his soft hands and smiled 
grimly back at the ship -- and the 
whistle blew. 




with barely the clothes he wore, she abandoned him, with 
voluble and quite unprintable reproaches. That much was 
gained. 

The thing that cut, though, was the thought of what 
Helen must think of him. He had written to her and told 
her, without trying to shield himself, the facts of his dis- 
grace. And he had given her no address to which to send 
a reply, if indeed she had desired to reply. Then he had 
wandered about the city until sheer starvation made it 
necessary for him to get work. The government was 
pleading for men to help build ships. He knew as much 
about ships as he did about anything, and not un- 
naturally found himself assigned to the Bemis plant. There 
the story of Thomas Whitney ended. He adopted the 
name of Thomas Maiden, beginning a new career, a new 
life, without any great ambition, without any high hope — 
and yet within him there was something that made for 
achievement, something of the driving force that was in 
his father, old Robert Whitney, master of men and 
ships. 

So as he sat there on a pile of timbers waiting for the 
whistle to call him to labor, something of a thrill went 
through Tom Maiden, despite the remorse he could not 
escape. The blood of the shipbuilder leaped at the sight 
of the half-finished vessel on the ways, the vessel that 
meant so much more today than any vessel had meant be- 
fore in the history of man, the vessel that was to take men 
and guns to France to hunt the wild beast of Europe, the 



'I want to be just a workman until I have made 

good," he told Helen one day, when she came to 

see him at the plant. 

The life of Thomas Maiden, ship- 
yard employe, had begun. 

If, when Tom flung himself, aching in 
every inch of him, on his bed in the 
lodging house that night, after a meal 
*"" which he hardly tasted, so swiftly had he 

gulped it in his hunger, — if some one had told him just 
then that two persons in the little town were thinking 
about him, he would have been hardly interested. But 
could he have known what they were thinking, tired as he 
was, he would have been alert. 

One of them, of course, was Helen Bemis. She had not 
been able to understand Tom's letter. One day he had 
promised her to stop idling, had said jokingly, that he had 
a "wild party" on for that night, but next day would 
buckle down. Then came his note, just saying, in half a 
dozen lines, that he was married and disgraced, offering 
no excuses, and saying goodbye. Helen loved Tom, al- 
most in spite of herself, or perhaps because she saw the 
man behind the idler. Even now, she could not think of 
him as altogether lost to her. Her father had all but 
ordered her to give him up, when he learned of Tom's es- 
capade. But now Tom was gone, Helen decided she too 
must do something to justify her existence. So Bemis 
smilingly appointed her his "very private secretary." 

The other person who was thinking about Tom was 
thinking in no such kindly terms. Hector Winter was an 
agent of the German government, in the guise of a friend 
of the working man. The man who had given him his 
credentials, forgeries which would admit him to the Bemis 
works, had warned him not to be guilty of such a blunder 
as he had made concerning the Whitney plant. In 
vain Winter pleaded that it was not his fault that the 
fool girl tried to grab the whole Whitney fortune by 
marrying the son. He was given his instructions — 



The Road to France 



39 



stop work at the Bemis plant, or suffer dire consequences. 

The days went on, and the paths of these three con- 
verged, and, at last, met. Tom's constitution soon asserted 
itself. He no longer ached at night. Callouses on his 
hands soon protected them against the chafing of wood 
and steel. He began to feel a glow of new manhood, and 
he actually loved his work. Because he loved it he put 
his mind to it, and little by little his education, and his 
inherited ship wisdom, bore fruit. He was promoted from 
labor in the foundry, and made a foreman. Still, in 
that vast city of workers, he did not meet Bemis, and he 
was putting off that moment as long as he could. He 
wanted first to prove himself. 

But Winter he did see, and too often. He was busily 
spreading the seeds of discontent among the men. Tom 
soon learned of his operations, and had him barred from 
the yards. Winter's identity puzzled him. Through a 
haze he seemed to remember Winter's face, but not de- 
finitely. Winter knew him, however, and held him in no 
higher regard for this last act of banishing him from the 
Bemis plant. 

The clash came one day when Winter was haranguing a 
crowd of the workmen on a street corner. He was feeding 
them anarchy undiluted, when Helen Bemis passed along 
the street. Winter pointed to her with a snarl. 

"There's the daughter of your master," he shouted. 
"There she goes, wearing the jewels, the silks and the 
furs that you buy for her with your sweat." 

Helen tried to hurry past, but the crowd was dense. 
Tom had just arrived from the opposite direction. It was 
the first time he had seen Helen since he arrived at the 
plant. He ploughed his way through the crowd that sur- 
rounded Winter, grabbed the spellbinder by the collar, 
yanked him from his soap box, and with a blow sent him 
reeling. Then he turned back to Helen. 

'I'm working here," he said, simply. "May I see you 
on your way?" 

The surprise and excitement had disturbed Helen. 
If she had been herself, or if it had not been 
in so public a place, she might have acted 
differently. But encountering the man 
she loved so suddenly, she involuntarily 
stiffened herself, and with a glance of 
scorn that she did not feel, passed on. 

Meanwhile Winter, infuriated, 
scrambled to his feet. 

"I know you, Tom Whitney," 
he yelled. "There's another 
of the d — d rich 



Tom could not leave 
without seeing Helen 
again. He waited in 
the garden where she 
came to him, and where 
he told her his plans. 



spawn," he shouted to the men. "And you can bet he's 
up to no good, pretending he's an honest workman." 

In a flash Winter's identity came back to Tom. He re- 
membered that this was the man who had been with Mollie 
the night of that fatal "final fling." He recalled, mistily, 
that Winter had said something that night about wanting 
admission to the Whitney yards. But it was all vague 
and indefinitely outlined. Now the struggle between them 
was on in dead earnest, Winter to persuade the men, in 
spite of their high wages and good treatment, that they 
were imposed upon, and Tom to counteract his arguments 
which, in truth, had little weight. For the unions were 
with the government, and Winter was a free-lance agitator, 
and had no influence except with the unskilled men, who 
had no trade. But there was a sufficient number of these 
to give him a certain leverage. 

However, Winter was not satisfied with the progress he 
was making, and as the time approached for the launching 
of the Victory, the first of the Bemis ships to be con- 
tributed to the cause, he received messages from his Ger- 
man master demanding action. In the conviction that he 
was not going to be able to deliver the goods, he decided to 
try the favorite game of the spy, double-crossing his em- 
ployer. So he went to Bemis, and told him bluntly that 
he was in a position to cause trouble in the yards, but 
offered to sell peace for a price. 

Bemis first ordered him from the house. Then it oc- 
curred to him, it might be well to use diplomacy with this 
disturber, and learn, if possible, the source of his activities. 
So the next time Winter called, Bemis 
consented to discuss things. Helen 
was present, as her father's 
"very private secretary." 
Winter apologized for 




4 o 



Photoplay Magazine 



his insult, the day of the street meet- T/ ne Road to France convinced with his fists, and the near- 

ing, and, coached by her father, Helen ' strike was over. So the ship was fin- 

pretended to forgive the affront. N^^F^', by P" missl0n ' from ished, and the day of the launching 

tj • • ,-, ., ., , . 1 > the photoplay of the same name r™ <• • • 

Having given a little more thought by Harry Hoyt, produced by World came. There were scores of visitors, 
to Tom and his sudden appearance in Film, with the following cast : officials, and what not. Tom kept well 

workman's garb Helen regretted her TomWkit Carlyle Blackwell out of the way until the christening and 

action in repulsing him. And Tom, John Bemis Jack Drumier the launching were over, and the Victory 

knowing that his identity was no longer Helen Bemis Evelyn Greeley had been drawn back to the dock, where 

a secret, was anxious to tell her the Hector Winter Richard Neill she would receive her finishing touches, 

truth before Winter reached her ears ^^ ^HenP^West and her macmner y would be installed. 

with some distorted story. So he man- Robert Whitney .. . .George De Carlton Then, when the crowd had gone, he 

aged to see her one evening, and told Mrs. Whitney .".Jane Sterling stood and looked at the splendid vessel, 

the true story of his marriage. Helen Mrs. O'Leary Inex Shannon another span in "The Bridge to Persh- 

respected him for the manner in which ing." It was here that Helen found him. 

he was rehabilitating himself, and several times called at "I'm proud of you, Tom — proud!" she said. 

the yards to see him. He was now one of the principal "Why couldn't I have known what all this meant, be- 

foremen in the plant, and wondered how long it would fore?" he asked, sadly. 

be before he could no longer avoid meeting Bemis. "Never mind — it may all come out right yet." 

"I want to be just a workman until I have made good," Bemis had missed his daughter, and came hunting her. 

he told Helen one day, when she came to see him at the They did not notice him approach, and their first warning 
plant. was his angry exclamation. 

"You have made good, Tom," she replied, simply. "What are you doing here, Whitney?" he demanded. 

The time for the launching of the big ship approached, "I'm one of your foremen," Tom replied, with an in- 

and Winter, baffled by the friendly reception he was given gratiating smile. "Dad kicked me out and I'm working for 
at the Bemis home, and likewise by the refusal of the a living." 

better class of the men at the yards to listen to his pro- "You're not working for me any longer," Bemis shouted, 

posals, grew desperate. There was one small outbreak of "My daughter may have forgiven you, but I shan't. Go." 
discontent among a few of the men one day, but Tom soon In this mood there was no opportunity for argument, 

quelled it by shaming them back to their jobs. He told In vain Helen looked up at her father with an unspoken 
of the men in the trenches who were making the supreme plea. There was no swerving the stubborn old man from 
sacrifice, and receiving a mere pittance in pay, while the his decision. Tom turned, and left the yards. But no 
workmen in the yards were paid the highest wages they longer was he hopeless. He now felt himself equal to any 
had ever known, took no risks, and yet were discontented, situation life might offer, and he believed he could win his 

The one or two men who refused to be convinced by way back to his father's respect. So he packed his few 

Tom's oratory, he belongings, and prepared to leave for the city. 

He could not 
<ji iy leave, however, 

(Continued on 
ffW P a g e JI 4) 

/ 

*- 




Helen had always regarded 
Winter as a sinister figure and 
while she did not believe him 
capable of murder, she believed 
that the death of her father 
was some development of his 
plotting. Together she and Tom 
worked out the plan of campaign. 




The Essential 
Ingredient 



Bert Lytell, a creature of excitement, is usually 
around the studio when any of it occurs. 

By Elizabeth Peltret 



BERT LYTELL, recently of Broadway, New York, 
but now "a film," was late to an appointment, and 
Albert Shelby LeVino, Metro's scenario editor, took 
his share of the blame. This was only fair because 
the two Berts — Albert LeVino is called Bert, too — are 
almost inseparable. On this occasion they had been very 
busy collaborating on the scenario for "No-Man's Land" 
from the novel by Louis Joseph Vance and, because 
stories are very scarce and it looked as though they might 
be late on a release, it was necessary to start shooting 
scenes before the scenario was finished; so it happened 



that Lytell was all dolled up 
like a convict, but he was be- 
having like a director. 

The first thing one is likely 
to notice about Bert Lytell is 
his habit of making things 
around him move quickly. 
And yet he himself is not os- 
tentatiously quick. On the 
contrary, he talks rather 
slowly and walks with some- 
thing of a stroll. He has a 
quick temper, but the more 
angry he is, the more slowly 
he talks and, instead of flash- 
ing, his eyes grow cold. 

Melodrama, he says, has an 
almost irresistible attraction 
for him. This, according to 
M. Maeterlinck, who said that 
nothing befalls us which is 
not of the nature of ourselves, 
must be the reason that melo- 
drama • is constantly taking 
place all around him. In fact 
"they" say that if anything 
exciting is going to happen 
anywhere around, it waits un- 
til Lytell arrives on the scene 
before it ever comes to pass. 
However this may be, he has 
had plenty of excitement in 



It took three shots to get this 
young shark. Bert saw it in 
the ocean while he was register- 
ing melodrama with a pistol. 



his life. He even got his start as an actor because the 
juvenile lead of their stock company ran off with another 
man's wife. Bert Lytell told the story: 

"I was practically born on the stage," he said. "My 
father, W. H. Lytell, was Kiralfy's principal comedian — 
the star of 'Around the World in Eighty Days' — and my 
mother's father, J. K. Mortimer, was with the Daly stock 
company, but I did not become an actor until I was six- 
teen years old. 

"I had been going to school in Toronto, Canada, and 
left there to go to Newark, New Jersey, where I got a job 



4 2 



Photoplay Magazine 




The three leading figures in the film production of Louis Joseph Vance's "No Man's Land". Left 
to right: Will S. Davis who directed it; Albert Shelby Le Vino who scenarioized it, and Bert Lytell. 

— it was a job, too, not an engagement — as assistant prop- 
erty man at the Columbia theater. My salary was $12.00 
a week — ($12.00 looks pretty big to a sixteen-year-old 
boy) — and my duties consisted of everything from sweep- 
ing the stage to prompting the actors and, having a very 
retentive memory, I soon had the entire 'rep' by heart. 

"Then came my opportunity. About five o'clock one 
afternoon, the actor who was to play 'Ned Seabury' in the 
evening performance of De Mille's play 'Men and Women' 
left town suddenly, taking with him the wife of a neigh- 
boring theatrical manager because the lady's husband was 
on their trail with a gun. 

" 'Only three hours before the overture and no "Ned 
Seabury" ', raved the manager of the Columbia. 'What 
am I going to do?' 

" 'I know the lines,' I said. 

" 'All right!' came the orders, 'you're going on!' " 



Of course, Bert made a hit. 
Otherwise, what happened 
would have been a tragedy in- 
stead of a melodrama. 

"It was a 'wonderful' mo- 
ment, so to speak. As soon 
as I could afford it, I bought 
an extra suit of clothes and a 
cane and was happy. 

"Speaking of melodrama," 
reminiscently, "when I was 
nineteen I became leading man 
in a stock company at the 
Bowdoin Square theater in 
Boston and we put on such 
things as 'The Bowery After 
Dark' and 'The Angel of the 
Alley.' Those old plays cer- 
tainly did move!" 

In regard to the hunger-for- 
an-audience, he said: 

"It is just a case of getting 

homesick; that is all; but. 

then, that is enough. I think 

that an ideal arrangement is 

one which allows the actor to 

work in pictures and remain 

on the stage or, at least, lets 

him go back to the stage at 

regular intervals. That is in 

my contract with Metro so I 

don't waste any time getting 

homesick for the stage, as I 

would if I felt that I had left 

it forever." 

Bert Lytell was born in New York City, Feb. 24, 1885. 

When he was twenty-two he became leading man at the 

Alcazar theater in San Francisco. Bessie Barriscale was 

leading woman and Fred Butler, now with Oliver Morosco, 

was the stage manager. 

There was an organization — an Empire Theater of 
California — from which came Marjorie Rambeau, Laurette 
Taylor, Bessie Barriscale, Earnest Glendinning, Howard 
Hickman, Charlie Ruggles, Louis Bennison, and Walter 
Catlett! 

"I was leading man at the Alcazar for three years, and 
for five summer seasons following was visiting star. It 
was at that time I met my wife, Evelyn Vaughn." 
He refused to describe the romance. 
"But I'll tell you this much," he said in conclusion, 
"I'm married to a mighty nice girl and I hope that I'll 
never disappoint her!" 



I'M TIRED 



Of the story of the prodigal son of the 
rich railroad president who was disowned 
because he was expelled from college, and 
then went out and beat the old man at 
his own game, and saved his governor 
from the rival crowd that tried to gobble 
control while he was vacationing on a 
yacht — and married the gal. 

Of the story of the thoroughbred but 
wild young club-man who went west be- 
cause the girl would have naught to do 
with a "waster," and fought the villainous 
Mexicans, and struck oil, and returned to 
New York in chaps and sombrero and 
Arizona stride, and licked a lounge-lizard 
that laughed at him, and arrived at the 
gal's house in the nick of time to save her 
from the ferret-eyed heavy — the lounge- 
lizard, for it was none other — 'whom she 
was to marry to save her father's honor, 




and pulled out his check book, and said, 
"How much?" — and married the gal. 

Of the story of the black-silk-clinging- 
gowned vampire with a record of an even 
dozen victims, who lured the young mil- 
lionaire away from his flapper fiancee, and 
burned incense under his nose, and lolled, 
decollette, on a regulation vampire couch 
in the middle of a room big enough for 
a political convention, and made him gaze 
into crystal balls, and plied him with 
champagne and cigarettes, and was foiled 
by the pure girl, who started to outvamp 
the vamp, and lost her victim because 
his better nature returned, and he didn't 
think so much of the Cleopatra stuff after 
all, and stood by the window, and cried 
bitter tears because she had learned to 
love him, and watched the poor boob walk 
off and fade out — and marry the gal. 



"Stage 



Experie 



nee: 



None!" 

Said Mildred Harris, just to be 
original, as well as truthful. 

CAN you imagine it? 
Girl — young, pretty — though 
her future as a picture star de- 
pended upon her answer, yet 
she said "None!" when the arbitrate!- 
of her dramatic destinies asked, "What 
stage experience have you had?" 

We don't expect you to believe it. 
Most any young girl, if her job de- 
pended upon it, would answer that question glibly enough — "Oh — stock in St. 
Louis; child parts with Hilliard; Shakespeare — " It would have been so much 
easier for Mildred Harris to lie about it. But she didn't. 

They had finished "The Price of a Good Time," which was to justify Lois 
Weber's judgment in picking Mildred Harris to star in it. Then one day Miss ^ 
Weber asked, "What have you done on the stage, my dear?" Mildred says 
she was sure she was going to lose her job. But she told the truth. 

"None!" she cried. "D-does it make any d-difference?" Miss Weber 
smiled. "Not the slightest," she said reassuringly. "No one would 
ever suspect that you had not played both Juliet and Katherine the 
Shrew." I 

Such originality is its own reward; but Lois Weber, to reiterate 
her confidence in the ability of her bantam leading lady, immediately 
cast her in other star parts, in "The Doctor and the Woman," and 
• For Husbands Only." 

Why, Mildred never even appeared in private theatricals in her home 
town — which is Cheyenne, Wyoming. Miss Harris was sixteen, with some 
picture experience with Vitagraph, Reliance, N. Y. M. P., and Fine Arts 




when Miss Weber dis- 
covered h e r — j u s t a 
year ago. Now Mil- 
dred is of that younger 
set in the Hollywood 
film colony which every 
other evening congre- 
gates at the Gish home 
on South Serrano 
Street, plays tennis, 
and occasionally "takes 
in" a picture-show. 

It seems just the 
other day that Photo- 
play was running a pic- 
ture of Mildred in short 
frocks and long hair 
and a great big hair- 
ribbon, playing with her 
dolls and wishing 
they'd give her 
grown - up parts 
to play. One look 
at these pictures 
will assure the 
most skeptical 
that it was really 
just the other 



day. 



An opportunity 
to exhibit hec 
dancing was 
given her in 
"For Husbands 
Only" 









Here Are "Henry 



an 



d Polly" 



Scenes from "Keep Her Smiling", 
the stage play upon which Mr. 
and Mrs. Dreiv wor\ed all summer. 

Photos by White, N. Y. 

SO many people thought that Mr. and Mrs. Sid- 
ney Drew were leaving the screen permanently 
after the completion of "Pay Day." But — not 
so, it seems. For we have Mr. Drew's own written 
word for it that he and Mrs. Drew are contem- 
plating producing twelve two-reel comedies as 
soon as their stage play is well established. 

"Keep Her Smiling" is to go onto a New 
York stage this fall. It was born in Boston and 
shows the same Henry and Polly, husband 
and wife, who delighted so many thousands 
of screen audiences. This time, plodding 
Henry is wed to an extravagant wife. If moral 






there be in the piece, it is that a wife's extrav- 
agance may quite as well lead to her hus- 
band's success as to his ruin. To "keep her 
smiling" Henry must "keep on paying." 

Henry is only cashier in a large firm, yet to 
please Polly they are living far beyond their 
means in a Renaissance villa on the Sound. 
One day, when the firm decides to incorporate, 
they make Henry "dummy" treasurer, and 
Henry, the gleam of fortune in his eyes, in- 
forms Polly of his new position, only to learn 
later that he is still to receive the same old 
salary. Plans, however, have instantly 
hatched in Polly's socially ambitious head, 
for a larger way of living, financially. And 






^£sJ 



because Henry is a victim to her adorable smile, 
he cannot muster courage to tell her the truth, 
and lets her go ahead. Polly's first idea 
is for a big party to get them in with 
the "right" people. Her plans gather 
impetus as they go, and finally climax 
with the engagement of expensive 
artists whose bill for entertainment 
is to total six thousand dollars. 

Distracted Henry, however, hap- 
pens to be the only one around in 
the office when a big business man 
calls to close a deal, and when Henry 
confesses to being "one of the firm," 
he gets the man's signature to a de- 
sirable contract. He does it with the 
aid of a fine cigar, an important air 
and a manner of indifference. With 
the same nonchalance, he also becomes 
responsible for the consolidation of hi? 
firm with their chief rivals. Then 
it is that Henry's employers 
no longer think of him as * 

a "shrimp," but take 
him into the firm, 
award him a bonus 
and triple his 
salary. With his 
pockets bulging 
cash, Henry 
has the time 
of his life at 
Polly's 
party. 




■■ 






45 



A Screen-Inspired 
Genius 

Romano Dazzi, thirteen-year-old Italian lad, and the 
dreams he conceived in a motion picture theatre. 



A mortally 
wounded soldier. 




An attack by 
Italian troops, as 
observed by the 
child, sitting in 
the film theatre. 



MOTION pictures have found vari- 
ous uses — they have assisted the 
surgeon, reported the work of 
the engineer, brought the battle- 
field to the home land, depicted the news 
and carried enthusiasm to the class-room 
— but they have found a brand-new utility 
in Italy. 

In this land of glorious memories and 
an equally glorious present they have 
served at once as tutor and inspiration to a 
prodigious young genius of thirteen, who 
draws pictures of men at war thai have the 
anatomical exactness of a Rodin statue and 
the demoniac fury of a French battle-paint- 
ing. 

Walter Littlefield writes, in The New York 
Sunday Times: 

The story first came from Carrara, where they 
quarry the marble; it found credence in Rome, where they 
have long been on the watch for something new in the 
plastic arts; then it traveled half over Italy. Yet there 
was little tangible about it — about a theme whose prime 
proof of verity demanded tangibility, visuality. The story 
was that the little son of the Carrara sculptor, Arturo 
Dazzi, was drawing the most remarkable pictures of Italian 
soldiers ever seen — remarkable not for technique, not for 

4f> 



Once he was asked why he did not draw from life. 

His answer was to the point: "Life doesn't repeat 

in the same way, and the 'cinematografo' does — just as 

long as I want to stay and see it." 

imagination, but for movement and mo- 
tion, not suggested or cunningly implied, 
but actually expressed. 

Specimens of his work were asked for 
by Roman friends, but always the same 
answer came back from the elder Dazzi at 
Carrara: "The boy destroys everything 
he does." 
So they waited, expectant, until by some 
means, as yet unrevealed, a friend of the 
father, Ugo Ojetti, obtained a dozen or so 
of Romano's pencil drawings and had them 
reproduced in the Illustrazione of Milan. 
Anybody can see that the boy's drawings are 
most remarkable, that they visualize motion in 
a most convincing manner. . . . 
He does not find his models on the battlefield, nor 
are they the result of his imaginings. He looks for them 
and finds them at the moving-picture theatres of Carrara, 
particularly those in which are reeled off the films taken by 
the photographer of the Supreme Command at the front. 
It is said that he will see the same picture a dozen times 
before he puts pencil to paper, and will then sit up in bed 
all night, drawing lines which reveal in their last expression 
of coherence the completed story. 



<fe 






Cap'nHart 

0/ ^e Horse 

Marines! 



CAN you imagine Willum riding 
anything but a horse? And yet 
he saddled the waves off the Cali- 
fornian coast like a character out of 
Jack London. Hart has been riding 
Fritz for so long that it was a con- 
siderable jolt to his admirers to see 
him woven picturesquely in the rig- 
ging of "Shark Monroe." It's full 
of conflict and of hard glances and 
of love and a Ieetle scant on guns 
and haciendas and such. 




Bill's habit of dominating the dance-hall in Hell's Gulch 

simply will not leave him. Hart without a gun is still 

our stern-faced William. 



.***** 



47 



Do 




mina 



nt R 



ace 



The Irish — who propel the production side of the photoplay 
business even as Wilsonian Democracy propels the civilized world 







— just to set you wondering if, after all, St. Patrick didn't 
shoot those original Irish snakes with a picture camera. 



TfE Turks may own the rug trade, Connecticut may 
have a monopoly on wooden nutmegs, the Scotch 
probably invented kilts and whiskey, doubtless the 
Germans own Hell — but by the Lakes of Killarney 
and the Holy St. Patrick, the Irish dominate the production 
side of the motion picture business! 

I don't know just why this should be so, but it is so. 

There's a reason for Celtic supremacy in politics. Your 
Irishman is by nature a quick-witted, garrulous, warm- 
hearted, mixer in everything going, ever ready with sug- 
gestion, generally optimistic, unfailingly sympathetic, and 
always more enthusiastic for other men's matters than for 
his own. These traits are the very genius of politics. 

If the Irishman dominated the stage you could call it a 
matter of inheritance. But if the stage has a national 
complexion — which is extremely doubtful — that com- 
plexion would be English. 

Of three supremely great actors of the past twenty 
years one was Italian, one English to the core, and one a 
thorough-going American who, nevertheless, had a Ger- 
man mother and should have borne a German name. The 
greatest living stage actress is French, and the supreme 
actress of the operatic stage is Scotch. 

Of course there have been great Irish actors. Perhaps 
our stage had a real Irish visage in its palmy days — the 
days of Forrest and Booth and McCulloch and Barrett and 
Wallach. But the great actor of the American stage, to- 
day, is a Jew! 

There have been, and are, great Irish dramatists. That 
tragic combination of mud and magnificence, the at-once 
glorious and unspeakable Oscar Wilde, was an Irishman. 
Than his, no finer mind has honored the theatre in a hun- 
dred years. The constant theatric lash at British obstinacy, 
before the war, was the Irish George Bernard Shaw. In 
America, J. Hartley Manners, Irish to the core, is one of 
the dominant factors of the footlights. 

Now to facts which tint the screen emerald beneath its 
white: 

First of all the regnant queen of the movies, that com- 
bination of beauty and brains who stays at the top, year 
after year, because she deserves to stay there: Mary Pick- 

48 



ford. She is so Irish that she went back to Ireland for the 
name she has made famous through the whole world 
Smith — Gladys Smith — is her real name. Pickford was a 
not-far-distant patronymic when her folks lived among the 
green hills of Erin, and in fealty to an ancestral land for 
which she unconsciously yearned the timid little girl took 
the name for always when she made her inconspicuous 
public beginning. 

Quite a while ago, as picture time goes, she married an 
Irishman, Owen Moore. His brother Tom, now a star in 
his own right, is in nomenclature a reincarnation of an 
immortal Irishman. 

Let us turn to the one family of true stage royalty in 
America, a dramatically ennobled line whose descendants 
are equally fine on stage and screen — the Barrymores. 
Irish. The great stage Maurice has a son as typically an 
Irish genius as he was in his own day: John. John Barry - 
more's Irish uncle, Sidney Drew, is one of the hopes of 
silversheet comedy. John's brother Lionel, long a screen 
actor, has just recently made a stupendous stage hit, in 
"The Copperhead." His sister Ethel has been called the 
subtlest of American actresses. His uncle, John Drew, 
has for more than two generations been our premier 
theatric gentleman. 

Are you thinking of the screen's matinee idols? Among 
the Irish are J. Warren Kerrigan, Francis Xavier Bush- 
man, Eugene O'Brien, William Desmond, Thomas 
Meighan, Roy Stewart, William and Dustin Farnum, 
Franklyn Farnum and Crane Wilbur. 

There are a lot of pretty aliases on the screen that go 
back to sound ould sod family names. Creighton Hale's 
real name is Patrick Fitzgerald. Handsome Julian Eltinge 
is — shades of a straight-front corset! — Bill Dalton. "J. 
Barney Sherry" covers up a good Harp monicker that I've 
forgotten. Mae Murray had to put her name to a legal 
paper as Maria O'Brien. Olive Thomas was christened 
Olive Duffy. 

Were you speaking of screen dramatists who are as Irish 
as a white potato? Then look to George M. Cohan and 
Willard Mack. 

(Continued on page 112) 



The real pull of the screen "girl 
show" lies in the spectacle of 
free and glorious youth. 
A wistful sort of humor. It is 
only a flavor and a perfume. 



What About Screen 
Comedy— Tomorro'w? 

By Harry Carr 



A hurtling pie may 
be funny now, but 
where will such buf- 
foonery stand after 
the Big Shuffle? 




Ten little funny gags 

Sitting all in line, 
Vaudeville exhausted one, 

Then there were nine. 

Nine sure-fire laughs 
Basking in the sun, 

Along came the movies 
And now there ain't none 



IT is getting to be hard 
ploughing in motion picture 
comedy. Every day the game 
becomes more difficult. 

Comedies that were howled at six months 
ago couldn't be sold for a plugged nickel to a hick town 
exhibitor today. The producers are in frantic pursuit of 
laughter and the sound of the laughter is growing fainter 
every minute. 

This is very curious when you come to think about it. 

People want to laugh; they don't want to cry. They 
want to laugh but they won't do it. They don't want to 
cry, but they cry at the slightest provocation. 

You can give the same old cry over and over again. The 
public has cried for more than fifty years at Uncle Tom's 
Cabin. 

But with comedies; well, that's different. 

Weep and the world weeps with you; laugh and the 
world says, "My gawd, but that's an old joke!" 

Personally, I can only figure it from this angle: 

Laughter is purely intellectual. Tears are emotional. 
Your heart is evidently less particular than your thinker. 
You can see the United States flag pass by a million times 
and still get that same queer feeling. But you can only 
hear a joke about a fat man once. 

The horrib'e truth is that the movie producers of comedy 
have been scraping the box for some time. They are in 
a panic for fear all the funny ideas in the world have been 
exhausted. Of course all the funny ideas haven't been 
exhausted. But the particular pay streak upon which 
comedy directors have been working is worn thin. 



Motion picture comedy has had an interesting evolution. 

No doubt there was somewhere in the world a transcend- 
ent genius who could have foreseen it all and eliminated 
most of the stumbling steps. But motion pictures did not 
find him. So the directors had to feel their way along. 

In the beginning, nearly all motion picture people came 
from the stage; so it was quite natural that the comedians 
of the stage tried to bring along the old reliable laugh 
teasers of variety and vaudeville. 

The truth is the difficulties were "very great. The bald 
idea of trying to tell a joke without words was rather an 
appalling problem. 

Pantomime, as Europe knows it, was not to be thought 
of for a moment. Americans won't stand for pantomime 
of the Pierrot variety. It was obvious from the first that 
motion picture comedy had to be built from the founda- 
tion up for the American laughs. 

When the comedians went over the top to storm the 
pictures they brought with them their trusty minnenwerfers 
and howitzers. In vaudeville and variety, these had been 
their trusty laugh makers. 

There was the knock-about: team who kicked each 
other in the stomach and said: "Who's that lady you 
were with?" "That wasn't no lady; that was my wife." 

49 



Photoplay Magazine 



50 

There was the comedy hobo; and the comedy cop. 

There was the blacked-up "nigger" and the burlesque 
melodrama villain. 

Let us eliminate the comedy hobo at the very jump-off 
The comic hobo never thrived in the new atmosphere. 
For a reason difficult to explain, the hobo isn't funny 
in pictures. Somehow he inspires pity instead of 
laughter. In Puck and Judge, he was an amiable 
wanderer with a tomato can and big feet and a 
weakness for chicken coops. For years he was 
the meal ticket of the comic artists. But in the 
movies, except in the hands of a few rare artists 
like Charlie Chaplin, the hobo became a pitiful in- 
dustrial failure who was hungry. I think the real 
reason is the change in the sociological position of the 
real tramp. Of late years we have come to think of 
him in I. W. W. terms. He has become vicious and 
dangerous, a symbol of the cancer eating at the very heart 
of all that we hold most dear. 

Possibly another reason is, that on The Comedy Cops in their 

the stage, the hobo was funny chiefly ^^&^* prime. These 

on account of what he said. It was * I J ere £°™z r me " 
Nat Wills' funny little voice rather than his | ^ e N * ^fusted 
make-up that made us laugh. For a similar 
reason, not much 




Ford Sterling and Marvel Rae in "Her Screen Idol." This comedy, which 

is a satire on the Bill Hart-Bill Farnum western hero, is a rather new and 

pleasant departure in comedy. 



In burlesquing 
melodrama the 
comedy pro 
ducers fairly 
outdid the real 
meller. 

could be made of the "nig- 
ger" of vaudeville and variety. He 
was another plant that couldn't be re-rooted. 
Of course the reason for this was plain. The stage 
•nigger" was funny because of his dialect and there is no 
dialect on the screen. 

That let out two of the chief fun makers. 

The knock-about comedians, the comic cop and the 
burlesque melodrama villain prospered hugely. 

The artistic device of one gentleman kicking another 
gentleman in the stomach was found capable of multiplica- 
tion to the Nth degree. 

Thus was jass born into the awed midst of a waiting 
world. This gave the knock-about comedians a new lease 
of life in a certain sense. 

The comedy cop and the burlesque -melodramatic villain 
travelled much the same course. 

In the movies the comic cop found possibilities that 
never were dreamed of on the stage. Directors multiplied 
the cop into regiments of cops. They brought in flying 
patrol wagons that tipped over and spilled the cops out 
into the water. 

In fact, I may remark parenthetically that water was the 
greatest "find" of picture comedy. Give him a mud puddle 
and something to fall off of and the picture comedian had 
a plaything that his stage predecessor never dreamed of. 

Just so with the melodrama burlesque. Motion picture 
meller was so good that it killed off the stage meller. In 
place of a wobbly cardboard locomotive to come jerking 
its snail-like way across the stage, the picture meller had 
real limited trains. In place of seven people squealing, 
"Now they come," into the wings at a stage hand in overalls 
with a climax by way of two tired and very sleepy nags 
clumping solemnly across the resounding boards, they had 



What About Screen Comedy — Tomorrow? 



51 




real race horses and real jockeys. They had real rescues 
from real steamships. There were real saw mills; real dyna- 
mite and real explosions. In fact the stage meller was so 
ashamed of itself that it ran away and died of mortification. 

In burlesquing the meller on the screen, the thrill was 
carried to the wildest extremes. They carried thrills just 
as far as they could be stretched. Then somebody dis- 
covered that you could do funny tricks with a camera and 
make super- thrills. This brought in a new era of screen 
comedy. 

The producers simply went wild. They showed men 
riding on cannon balls; sitting on the moon; chasing shoot- 
ing stars. Dashing horsemen leaped over a hundred horses 
into the saddle. There is no use going into this phase. 

There is a certain streak of childishness in the American 
public that delights for a while in impossibilities,; then 
grows tired of them. 

At first this type of comedy was wildly popular 
because of its very impossibility. Just as children 
shriek with delight over a toy monkey in a baby's 
bonnet; just so we screamed with delight to see a 
man jump over a brick block. But a close ob- 
server will always notice that these fantastic 
things happen when children are growing tired 
of a game. They play dolly in good earnest at A 
first; then grow tired and stick a shoe on £% 
dolly's head. They laugh, but it's the end of 
the game. 

Just so, this wild jazz came very 
quickly to an end. The possibilities of 
the impossible were very limited after 
all. As a matter of fact it is a car- 
dinal principle of fun making that an 
impossibility isn't funny. But I am 
coming to that later. ^ 

I think Mack Sennett can «4 
fairly claim to have made ^fl 
one of the most important and 
vital advances yet accomplished 
in screen comedy. 

One day it occurred to him that a comic 
policeman wasn't as funny as a very serious and solemn 
policeman. (Continued on page 116) 



■^ H 



Mack Sennett 
has, in effect, 
transferred "The 
Follies" to the 
screen. The ad- 
vantage the movie 
chorus has over 
the stage "mer- 
ries" is that they 
can do so many 
more athletic 
stunts. 




Mack Sennett 's Teddy and other animals are among the latter 
developments of comedy. 




o 



u t 



BOB LAWRENCE cantered 
lazily through the grove of 
striplings into the deeper 
gloom of the pine forest. It 
was a perfect autumn day with just 
enough frost in the air to make the 
day ideal for a gallop. He had been 
trying to urge his horse into swifter 
motion but the faithful Roger, usually 
in perfect unison with his moods, was 
acting strangely. Something in a 
clump of bushes near a fallen tree- 
trunk had frightened the beast for he 
reared and whinnied plaintively in a 
manner which said plainly, "You 
don't expect me to pass that, do you?" 
It occurred to Bob that the bushes 
might be sheltering some wild little 
creature of the woods which had been 
trapped or wounded. He alighted 
and was striding toward the bushes 
when they parted and a "wild little 
creature" emerged. It was a young 
girl, a child, Bob thought, until his 
second glance caught a dignity that 
added a quaint charm to her diminu- 
tive size. She was obviously strug- 
gling for self-control, but Bob saw in 
the wide, dark eyes a fear which 
held a hint of tragedy. Because of 
this, he made his own greeting as 
casual as he could. 

"Hello, little girl," he said genially. 
"Lost? Want somebody to find 
you?" 

Her own answer came in a rush of 
words which showed how great a re- 
lief his arrival had brought her. 

"Oh no, Monsieur," she stammered. 
"It is that nobody must find me now. 
Hide me, if it please you. I am in 
great fear!" 

Bob caught at once the foreign ac- 
cent and a certain European touch 
to her rich though simple little cos- 
tume that stamped her as an arrival 
from overseas. No ordinary adven- 
ture, this, he reflected sagely and one 
to be handled with all the tact he 
possessed. With the same matter-of- 
fact manner and yet with a touch of 
chivalrous concern for her fright, he 
answered. 

"I will protect you with my life, 
Madame," he said gravely. "And 
hide you, if necessary, as best I can." 
At the ring of sincerity in his tones, 
the girl's face brightened and then 
broke into a smile. She held out a 
frank little hand scratched and 
bruised by her 
battle with the 
briars and Bob 
grasped it firmly 
as man to man. 
But the sudden 
whistle of a train 



"I will protect you 
with my life, Ma- 
dame," he said 
gravely, ' 'and hide 
you, if necessary." 



of 



CI 



ear 



Sk 



y 



Celeste, a countess, was far happier 
in being just an American "J^obody." 

B\> Dale Carroll 



in the distance brought the terror back again into her 
face. 

"A man will come from that train and make search for 
me," she said hurriedly. "He must not find me — he must 
not!" 

Bob thought it best to end this scene which had brought 
the girl dangerously near hysteria. "Of course they 
won't," he soothed her laughingly. "You haven't a thing 
in the world to fear. Now hop on the horse and we'll be 
off to Steve's cabin where his wife Mamie is." 

"Is it that this Steve and this Mamie are retaineis of 
your house?" she asked gravely. 

Bob broke into a roar of laughter that startled Roger 
from his grazing. "Well, you might call them that if 
they didn't hear you," he agreed, dryly. "Now give me 
your hand and off we go." 

For miles and miles they rode through the lovely fra- 
grant forest, climbing over hills and as evening quietly 
came the girl's dusky head began to droop with weariness 
and finally fell against the encircling arm of her protector. 
Her next impression was of being lifted in those same 
strong arms and deposited on a grassy knoll 
before a blazing camp fire. Over the 
bacon and coffee which Bob had 
miraculously produced from 
his saddlebag, t h e little 
stranger grew far more 
friendly and less fright- 
ened though still un- 
communicative. Her 
name was Ce- 
leste she told 
h i m simply 
when he 
asked 



what he should call her, but she gave no hint of her other 
name or history. Bob saw that her reserve must be broken 
down by his own direct appeal. He abruptly broke into 
the reverie that crossed her lovely little face like the 
shadow of a cloud. 

"See here, child," he said bluntly. "Don't you want to 
tell me all about it? Wouldn't it help?" 

Celeste raised her eyes and met his frank gaze with a 
searching look that was almost tragic in its intensity. Evi- 
dently she was satisfied with what she found there for 
she held out both her hands in a gesture of complete con- 
fidence. 

"It will help, Monsieur," she told him, "more than you 
can know. If you have the patience to listen, I will tell 
you everything. 

"My name is really Celeste but I am also a Countess 
of Belgium — the Countess of Bersek and Krymn. Before 
this cruel war swept over Europe I lived so happily on our 
estate in the country with my father and my two brothers. 
They have both fallen at Liege before the great guns." 
Her lips quivered suddenly but she went bravely on. 




Together they sat before the dying fire, in a 
silence of perfect understanding. 



53 



54 



Photoplay Magazine 



"When the German army swooped down on our brave 
little country, I soon discovered that my uncle, Dyrek, 
whom I trusted, was in full sympathy with the enemy. 
I bore his upbraiding because of my loyalty as long as I 
could, but when he insisted that I should be married to a 
German prince, I could endure it no longer. You see, a 
princess, Monsieur, is a pawn of State. It is different, I 
have heard, in this country." 

"Believe me, it is," Bob answered grimly, his jaw set 
sternly at the thought of her tormentors. 

"My governess was an American woman," she went on. 
"And together we managed to escape from Belgium and 
board a vessel for this country. We landed unobserved 
as we supposed and were on the train, when I looked up 
to find Dyrek sneering at me from the other car. A few 
minutes later, the train began to go slower and before it 
had stopped, I threw myself off and hid in the bushes. 
And there you found me. And here I am." She threw 
out her hands in a gesture of complete surrender. 

Bob received her story without a word. Together they 
sat before the dying fire in a silence of perfect understand- 
ing. This silence was abruptly broken, however, by the 
sound of shouting and horses' hoofs which brought Celeste 
to her feet with a startled little cry. She was calmed at 
once by Bob's quiet voice. 

They have come back for you," he said coolly. "Are 
you sure that you want to run away?" 

Celeste snatched from her dress a wicked looking little 
knife and held it out to him. 

"I will use this," she said, unfalteringly, "before they 
shall use me for my country's dishonor." 

"Good! But you won't need it," Bob told her 
' ' Now wait 



here quietly 
behind this , 
rock 




With the document in his 
hand Dyrek passed out of 
the door so close to Celeste 
that his spurs touched her 
dress. For she had come in 
to listen the more closely. 



vhile I go and meet them." He made her crouch down 
behind a great boulder and covered her with a bough from 
a fallen tree. As he strode off in the direction of the 
founds, she peeped out from behind the rock and blew a 
kiss after him which was lost on the forest wind. 

The minutes lengthened into hours and then longer 
hours as it seemed to Celeste, imprisoned in her bower of 
leaves. Finally she could bear the silence and suspense no 
longer; she emerged cautiously and then as the solitude 
gave her confidence, she advanced slowly along the path 
strewn with leaves. The path ended at a small stream and 
across this she could see a cottage, half buried in vines. 
When she knocked and received no answer, she opened the 
door and stood at the threshold, half-frightened, half- 
amused at what met her gaze. A small boy, grumbling 
and muttering to himself, sat tied hand and foot on a 
chair. When he looked up and saw Celeste, he was at- 
tacked by a wave of self-pity and began to pour his woes 
into the ears of this charming stranger. He had been bad 
— he admitted it — and Maw had tied him up to keep him 
away from the fire and the dynamite that Paw used for 
blasting stumps. Maw had gone to Granny White's 
and his name was Bill and he was awful tired and 
hungry. 

Celeste threw discipline to the winds and untied the 
urchin who grunted his thanks. By way of reciprocity, 
he informed her that her dress was torn "somethin' awful" 
down the back and that there was another frock hanging 
behind the door which she was welcome to. Celeste grate- 
fully slipped out of the dress which the brambles had torn 
to tatters and put on a rude frock of blue homespun 
which was oddly becoming. Billy, who had stood 
decorously with his back turned through thi-; 
process, now offered to conduct her back to the 
rock to meet Bob and the two set off together. 
They had just reached the top of the hill when 
rain began to fall in heavy drops. A vivid tongue 
of lightning shot out of the sky followed by 
a blast that was not all thunder. As the two 
explorers turned to face the sound, they 
saw the little cottage blasted before their 
eyes, a mute testimony to the power of 
"paw's dynamite." 

Celeste's first thought 

was for Billy. She 

held him close 



f% 



Out of a Clear Sky 



55 






as if he were still in danger. "If I had 
not come," she cried, you would have 
been there — you would have gone with 
the cottage!" 

Bill, still frightened but even more 
embarrassed at her emotion, struggled 
out of her embrace. "Come on, girl," 
he said with manly roughness. "We 
got to get to Granny White's before 
dark." /^| 

Meanwhile, Bob had met Dyrek and 
his companion in the forest, had set 
them off the girl's track with a few 
casual words and had ridden back to 
the rock where his little charge was 
hidden. Alarmed at not finding ^to 
her, his first impulse was to hasten 
to Granny White's for counsel. As 
he paused before the cottage, he 
heard a woman's voice crooning a 
lullaby and the unmistakable wail of 
a very new baby. He gently opened 
the door and then stopped in amaze- 
ment at the domestic picture before 
him. Celeste sat before the fire with 

the tiny bundle that was Mamie's baby ^k J 

in her arms while Granny White was I / 

bending over the smiling face of the 
little mother in the big bed nearby. 
When Celeste saw him, she uttered a 
cry of joy and surprise and then 
checked herself and held up her finger 
for silence. Bob advanced with the 
awkwardness of the male in the pres- 
ence of its young and stood looking •! 
down on Lhe little Madonna with a 
gaze of quizzical tenderness. 

"He isn't as ornamental as Mous- 
er's kittens, is he?" he teased. 

Celeste flamed with indignation. 
"This is a child of great beauty," she 
told him, haughtily. "Is it that you 
do not love the little human?" 

Bob still laughed but his expres- 
sion changed. "Don't confuse race 
approval with love, honey," he told 
her, lightly. "The one belongs by the fireside, 
but love is what pipes from the woods in the 

full Of the moon." "And so" Celeste cried with a merry gesture, "departs 

Celeste Shook her head. It IS a difference tOO dlffi- t h e last possession of the Countess of Bersek and Krymn." 

cult for me," she said. "I do not understand. I think I 

do not want to—" and further argument was lost in the will be well-nigh impossible ever to prove that she is still 

loud protests of the infant who resented being under dis- alive." 

aission. When she did not answer, he continued. "You will be 

That evening, Bob and Celeste sat on the porch under only a nameless young girl down in Tennessee. As it is 
the honeysuckles, and talked of her future. yours is a great destiny of power, wealth, name. You 

"I have a plan that I think will send your uncle away must decide entirely for yourself. I must not advise you." 
forever," Bob told her. "But you must consider it very His determination not to influence her judgment had put 

carefully before you agree." a cold, almost a harsh note into Bob's tones. To Betty's 

"Tell me about it," Celeste said dreamily and only half sensitive ears it seemed like stating a pretext to get rid of 
interested. In the soft dusk, with the her. Silent, she rose and hurried back 

scent of the flowers heavy on her senses Out of a Clear Sky into the house, leaving Bob alone with 

and Bob's powerful figure so close to M ARRATED by P e rm i ss ion, from the night and the honeysuckle, 
hers, the future seemed oddly distant IN the Paramount photoplay, writ- On the next afternoon, the peace ot 
and inconsequential. ten bv Maria Thompson Daviess, pro- the cottage was abruptly broken by a 

"I shalf lead them into the ruins of duced b ? Paramount, with the follow- heavy knock at t h e door. Before 
Steve's house," Bob went on. "and show mg cast: Granny could answer it, the door was 

them in the debris the scraps of a silk J*^» ; ; ; ; ; ; ; ; ; SaTneghan rudely thrust open and Dyrek strode 

dress which would have broken my heart Bill Bobby Connelly haughtily into the room followed by bot> 

had I not known that you were safe. Mamie Irene Freeman and Steve. With a contemptuous glance 

But you must remember this; in that g""** Ma rjorie Holloway Fisher at Granny, the nobleman loudly de- 
ruined cottage if I put Celeste, Countess Jgreft Edw J Ratdiffe manded nen and P a P er - " lt is necessar y 

de Krymn forever out of her world, it (Continued on page 112) 




Known Here As Mrs. 



Where T^orma Talmadge 

and her husband "\eep 

house"- — -as well as get 

their recreation. 




Here is the summer 
home of Miss Tal- 
madge and her hus- 
band, Joseph M. 
Schenck, magnate of 
the theatre, and pro- 
ducer of his wife's 
pictures. The iittle dog 
bears a simple, easy- 
to-say, and most ap- 
propriate name — 
"Dinky". 



' A real tree on a real sea-beach is a 
rarity. Yet the long boughs of this 
old patriarch overhang the surf at 
high tide. 



56 



THE home of Norma Talmadge at Bayside, Long Island, 
by motor twenty-five minutes from the heart of New 
York City. The whole grounds comprise several acres, 
of which a very timely vegetable garden forms a good 
part. The house is at the back of a deep lawn, which 
terminates in a wooded and rather secluded private beach. 
The view from the house is magnificent, and across 
hundreds of square miles of ocean thoroughfare one gets 
a gray glimpse of the Connecticut shore. 




Miss Talmadge's golf practice court, in which the 
actress is making a careful study of driving. 



Grand Crossing 



— ^.sfe* * 




Impressions 




w 



K ' M 




SHE wasn't 
Olive Thomas ; 

She was Mrs. Jack Pickford. 

"It's 

Rather Awful," she Said. 

"My Two Brothers 

Are in it, too. 

And Jack — " 

She Paused; then 

She Lifted her head, and 

Those Rather Wonderful. 

Light Blue Eyes of Hers 

Tried to Smile. 

"I'm Glad 

He — They 

Are Fighting in it." 

She's 

Too Matter-of-fact 

Even to Try to 

Impress you. , 

She Told Me 

She Hoped to Have 

Some Real Parts 

To Play ; something 

More Than 

Simp Ingenues. 

"I Might Just 

As Well 

Go Back on the Stage, if 

They Won't Give Me 

Bigger Things to Do 

In the Movies. 

It's All 

Work-work-work 

Out in California ; and 

One Likes to Feel 

One's Done Something 

To Show for it." 

She Showed me 

Some Stills for her 

New Picture; she 

Was Taking them with her — 

"To Show Jack, in N. Y." 

"Toton" 

Is Seven Reels, and 

Olive Plays a Boy 

In Some of it. 

"This is the First Real Thing 

I've Ever Done, I Think, 

I Hope 

They'll Like it." 

(This Means You.) 

"I Want them 

To Take my Work in it 

Seriously, critically — " 

Yes, she's the Same Olive 

Who was in the Follies, 

Where Every Girl Knows 

That she May Fill her Role Indifferently, 

58 



mm 1 

'Delight c Eyans 



Chicago, the Grand Crossing; the 
transfer -point for players on their 
flirtings from coast to coast. 

Chicago, a place where they change 
trains and, in the sad, mad scramble 
of luggage and lunch between, run 
up to see "PHOTOPLAY." 



But Not her Stockings. 

Olive, you see, 

Is Making Pictures 

To Show 'Em 

That she can Act, too. 

"At Least," she Concluded, 

"It Gives me a Chance 

To Show What I Can Do ; maybe 

That Won't be Much, but 

I Can Try." 

You Get So, after a while, 

You don't Know 

What she's Saying. 

"I don't Care," you Think. 

"We can Talk about Pictures 

Any Old Time. 

Are they Really Blue — ?" 

Meaning Olive's Eyes. 

I SAW Madge Kennedy. 
She wasn't 

A Film Star, and 

I Wasn't 

An Interviewer. 

It 

Was this Way. 

I Was With 

Dorothy Gish, and 

In the Lobby 
r Of the Hotel, we 
1 Saw Madge Kennedy. 

I Hadn't 

Met her Before; and 

Neither Had the Gishes. 

She was Dressed 

In a Suit 

Of Silver Silk, and 

She Wore 

That little Hat 

With the Pink Flowers 

That you Saw 

In "The Fair Pretender." 

She has 

The Whitest Skin, and 

Very Dark Thoughtful Eyes, 

And 

Her Quiet Dark Hair 

Shines — like Jet. 

Her Husband, 

Harold Bolster, 

Was There; ?nd 

Even if I'd Wanted 




To Interview her, he 

Wouldn't Have Stood for it. 

She 

Was Vacationing, she Said. 
Pretty Soon, we all 
Shook Hands, and she 
Smiled her Little Crooked Smile 
At me. And then 
Mr. Bolster 
Took Mrs. Bolster 
In to Lunch. 
When 

We Went In too, there 
They Sat. They 
Looked Happy, and 
They Weren't Bored. 
And 

Here's Some Things 
I Found Out about her — 
But she Didn't Tell Me. 
She 

Likes Nessolrode Pudding ; 
It's her Favorite Dessert. 
She Loves 

Blue Violets; and she Can 
Sing, and Paint, 
And Draw Cartoons. 
Madge Kennedy 
Started Out 

To Be an Art Student; but 
She was Sidetracked 
By Someone 
Who Saw her 
In Amateur Theatricals — 
And Told her 

She should Go on the Stage. 
And Now 
She's in Love with the Movies. 

Miss Kennedy 

Is One of these People 

You'd Like to Meet Again, 

And Know. 




I Thought 

I'd Like 

To See her Again, 

Myself. 

So the Next Day 

I Called her 

At her Hotel. 

"Is 

Miss Kennedy 

In?" I asked. 

"Miss Kennedy? 

No," they Reproved. 

"Mrs. Harold Bolster 

Left this Morning." 



The Personality Test 

With special reference to the experience of Gladys Hulette 

By Randolph Bartlett 




WHEN a film company discovers that a 
young woman has screen "possibilities," 
the next step is to make a test. The as- 
pirant is taken to the studio, advised in 
the mysteries of make-up for the camera, and 
coached through several scenes. The resulting 
film is examined by the powers of yea and nay. 
If the aspirant photographs well, if her eyes do 
not look faded and the lines of her face are 
pleasing, if she carries herself well and has a 
modicum of dramatic ability, she is en- 
gaged. 

Immediately she is classified. She is 
the vampire type, the ingenue type, the 
leading woman type, the comedy type, 
or one of not more than half a dozen 
other arbitrary classifications. That's all 
the kinds of women there are, in the 
mind of the average casting director. 
She looks like an ingenue, therefore she 
is an ingenue. 

Nobody ever heard of such a thing 
as a personality test. Appearance is 
everything — character nothing. 

Thus it transpires that because a 
young woman has curls like Mary 
Pickford's, or eyes like Norma Tal- 
madge's or a nose like Pauline 
Frederick's, she is sentenced for the 
remainder of her unnatural screen 
existence to appear in plays ap- 
proximating those in which those 
stars have made thir successes. Perhaps the girl 
with the Talmadge eyes has all the instincts 
required of a leading woman for Charlie 
Chaplin, but those instincts have to be 
suppressed in the interest of precedent. 
So for the benefit of producers, I offer 
this suggestion, without fee — that a new 
functionary be installed to make per- 
sonality tests of players. It is a posi- 
tion of the highest responsibility, call- 
ing for unusual intelligence and under- 
standing of character, sympathy with 
ambition, insight into motives. He 
would have to be a person who never 
even heard of the tradition that a man 
with a black moustache is a villain 



and a girl with a pout is an ingenue. He would have to 
possess, in a great measure, the qualities of a professor 
of applied psychology. But his report and recommenda- 
tions would be of vastly greater importance in the build- 
ing of the career of a star than the mere screen test of the 
young woman's physiology. For, little by little, we are 
beginning to understand that not what a player looks 
like, but what he or she is in his own mind, is what de- 
termines the effect of his acting for the screen. The 
shadow on the screen is no more surface thing, but a 

living entity, which is why 

so many pictures 

are bad, because 

they compel 

players to 

enact roles 

which 

they 



Campbell 




The piquant 
Hulette face 
quiet moments 
of a seriousness 
that approaches a 
frown. Her dark 
gray eyes are 
tent, questioning 



59 



6o 

cannot feel, and with which they have no sympathy. 

Take it or leave it. 

What I started to do was write something of the per- 
sonality of Miss Gladys Hulette. A brief chat with that 
small person revealed an individuality so entirely dif- 
ferent from that which I had encountered in contemplat- 
ing the productions in which 
she appeared, that I could 
not resist offering this gra- 
tuitous piece of advice — a 
harmless pastime. 

The Hulette of the Pathe 
and Thanhouser pictures is, 
ordinarily, a Blighted Be- 
ing. It is easy to under- 
stand how this came about. 
The piquant Hulette face, 
in quiet moments, is of a 
seriousness that approaches 
a frown. Her dark grey 
eyes are intent, questioning. 

"Dramatic ingenue!" ex- 
claims the casting director, 
and the matter is decided 
for all time. But even so 
casual a student of per- 
sonality as myself could see 
that there was no real grav- 
ity in that half frown. It 
is the gravity of the young 
fox terrier, about to hurl 
himself into a spasm of 
joyous frolic. And they 
wouldn't let little Miss Hu- 
lette frolic. They wanted 



Photoplay Magazine 




Miss Hulette when she played with De Wolf Hopper in "Wang." 



her to be tragic — they wanted to capitalize that frown, 
which wasn't a frown at all, but a quizzical attitude toward 
the world at large. It is not yet too late for Miss Hulette 
to be developed into one of the greatest play-girls of pic- 
ures. • 

Not too late by any means- — for although this five feet, 

four inches of slender girl 
has been before the public 
for quite a while, that is 
about all the time there has 
been any such person. She 
was the original Tyltyl in 
the New Theatre produc- 
tion of Maeterlinck's fan- 
tasy, "The Blue Bird," re- 
cently done into pictures by 
Maurice Tourneur. She was 
with De Wolf Hopper in his 
'steenth revival of "Wang." 
She was in the companies 
that supported Nazimova 
and Kalich. Four years 
ago she joined Edison, 
went thence to Thanhouser, 
and concluded with Pathe. 
It is quite a career for 
a little girl, and yet she 
is quite grown up after all, 
for is she not the wife of 
William Parke, Jr., erst- 
while a member of her com- 
pany, but now an aviator in 
the American forces some- 
where in United States of 
Europe? 



I Am THE GUN IN THE DRAWER 




I AM The Gun in the Drawer. 
I am the Defaulter's back door, the Hero's loud 

moment, little Willie's accident, the lock 

on the Ingenue's honor, the playwright's 

stupid solution, the Director's easy way out, 

the sure cure for Over-Footage. 
I was in the first Motion Picture, and now 
I am liable to appear anywhere. 

I am the goldarndest excuse for real drama on the screen- 
— but they need me in France, 

and if someone will only send me across 

I may get a Hun or two 

and then the sore world may forget that I ever was 
The Gun in the Drawer. 



Cheating the Animals 




Marie Walcamp is not at the present time in 
the mar\et for wild animal serials, because — 



IT was Fourth of July out in the little town of Dennison, Ohio, and the citizens 
were preparing for a grand and glorious time. One of the principal events 
scheduled for the day was a children's cake walking contest, to be held in 
"The Park," the largest entertainment hall in the little town. 

Some of the youngsters were stricken with stage fright and set up a dismal 
howling when their numbers were hung up. But among the throng was one 
little golden-haired creature of five years of age who was in her element. She 
meant to have that cake and enjoy every minute of the earning of it. 

She did! 

The winner was none other than Marie Walcamp, known to fame, at present, 
as the Universal daredevil of the films. That was her first public appearance, 
and it was distinguished by the same sang froid in the face of a crisis that she 
has since shown in countless situations fraught with real, red danger. 

Again it was Fourth of July. And this day was celebrated in every capital 
of the Allied world for the forces of liberty, the triumph of which the day cele- 
brates, were arranged against oppression. It was the year 191 8. Again there 
was a contest. But this time it was no child's work. It was a contest between 
girl and beast. The girl was Marie Walcamp and the beast, Kaiser Leo, who 
was playing the villain role in a little private Vendetta of his own founded on 
"The Lion's Claws." 

Kaiser Leo had become 
unmanageably wild the day 
before the Fourth, when 
cheated out of a nice juicy 
human meal. Marie and a 
child of four had been res- 
cued just in time. Thus Leo 
was blind mad. 

The Fourth of July was 
celebrated by "The Lion's 
Claws" company in working 
overtime. All hands were 
tired and Kaiser Leo, smart- 
ing under hunger and restric- 
tion, saw the chance he had 
been waiting for when he and 
three other lions were sup- 
posed to run over a log be- 
hind which Miss Walcamp 
was hiding out in terror. 
Kaiser was the last of the 
four and he saw Marie as he 
jumped over her. Turning 
like lightning he pounced on 
the now really terrified girl 
and before the guard, who al- 
ways has his gun trained on 
the wild animal cage, could 





Marie Walcamp has lost her taste for animal adventure since Kaiser 

Leo ripped open her shoulder — in ferocious earnest. And who could 

blame Marie? 



fire, he had dug his claws deep 
into Miss Walcamp's left 
shoulder. 

Fortunately for the serial 
the scenes showing the birth- 
marks of the lion's claws 
called for in the script had 
already been taken. Miss 
Walcamp's shoulder will not 
bear exposure to the camera 
for some time. Incidentally 
Miss Walcamp has lost her 
taste for animal adventure. 
She countermanded the next 
serial, and Elliott J. Clawson 
was called in to write a serial 
around a woman secret service 
operative. And there are no 
animals in it. 

61 



RIDDLE GAWNE 



His was a soul of Hatred, with all mankjnd his enemy. 
But — in the shape of a woman— came faith reborn. 



By Gerald C. Duffy 



JEFFERSON GAWNE opened the door slowly, silently, 
and stepped into the blackness of the unlighted room. 
Almost instinctively his hand slipped down to his 
holster and he stood motionless. Not the slightest 
sound disturbed the heavy silence — nothing to indicate 
that he was not alone. 

And yet Gawne knew that he 

was not alone. He knew, as 

though he could see, that 

somewhere within those 

same four walls there 

'. JL was another person. At 

least, his brother must 

be there. Less than 

fifteen minutes be- 

-- fore they 



had parted in front of the bunkhouse and Wesley had told 
him to wait while he ran to the house; that he would be 
right back. There had been a light in the house then; they 
had seen it from where they stood. The bunkhouse was 
situated a fairly good distance from the ranch-house, but 
there was nothing between the two to obstruct the vision. 
Gawne had watched and seen the flood of light silhouette 
his brother's form against the blackness of the night as he 
had entered through the door. He had waited. For a 
moment he had turned away to knock the ashes from his 
pipe against the bunkhouse wall. And, when he had 
turned back, the house was in darkness. He had heard 
nothing, although it was possible that, with the distance 
and the sound of his pipe rapping against the wall, he would 
not have heard a noise had there been one. 

Yet why should the light in his brother's home be gone? 
His wife and little Jane were there. Wesley had said noth- 
ing of bringing them. He had waited longer in the thought 
that his brother might be approach- 
ing, but he had not come. And 
then, muffled by the soft grass of the 
prairie, he had heard a faint sound 
of hoof beats. They had 
grown fainter and finally had 
ceased entirely. Jefferson 
Gawne had known that they 
could not have been his broth- 
er's horse for he was 
IV standing but a few feet 
away. He had started 
toward the house on a 
\. slow run. 




Gawne had taken 
ittlejane from her 
cradle and shel- 
tered her from the 
world, traveling to 
a country appro- 
priately wild with 
his feelings. 






62 



Riddle Gawne 



65 



Harkless home loomed into view, the suspense broke. It 
happened that they both looked toward each other at the 
same moment. Their eyes met. Kathleen laughed. And 
Gawne, without knowing what he was doing, and astonish- 
ing himself by it, broke into a laugh also. That was the 
beginning. 

The next thing of importance in Gawne 's career occurred 
a week later. "Riddle" Gawne was standing in front of 
the bunkhouse brushing his clothes with an old broom, 
when he heard a horse approaching at a gallop, and, look- 
ing up, was surprised to see Kathleen Harkless. She drew 
up beside him and dismounted. "I came to see — Jane?" 
she announced. 

"I reckon she'll be glad to know you," Gawne replied. 
"She don't see much of women, an' I guess she misses 'em 
a bit. It aint her fault she was born to wear dresses; it's 
more like her hard luck. Yes ma'am, I reckon she'll shake 
your hand aplenty." 

But if Kathleen came to see Jane, she accomplished some- 
thing further — something that no one else had been able 
to do in all of the fifteen years of his changed life. She 
met, for the first time, Jefferson Gawne. She solved the 
riddle. And Gawne himself, it was, who unravelled the 
mystery. Perhaps it was something in her expression when 
she asked him innocently why it was he seemed so hard. 
Whatever the cause, he told. He related the story from 
beginning to end, and finished with the words: "And now, 
by God, the world is goin' to pay. If God don't right the 
devil's wrongs I'm goin' to do the job for him." 

There was a heavy silence when he stopped talking. 
Gawne watched Kathleen and he saw that she understood. 
But then, when she apparently had thought it over care- 
fully, she glared into his eyes unwaveringly and, with a 
note of accusation in her voice, she said: 

"Jefferson Gawne, you admit that you have lived to hate 
two people, but because of the sins of one man and one 
woman — why hate the world? Tell me, is that fair? 
... Is it?" 

"I aint arguin' ma'am; I'm listenin' " was his only 
answer. 



And Kathleen continued, 
could get no further com- 
ment from Gawne. He knew 
that her words were having 
their effect upon him, but he 
dared not to admit it, even to 
himself. So, when she left, 
she did not know the tur- 
moil that she had 
started in his soul. 

It was this moment, 
when Kathleen turned 
her back and put her 
foot in her stirrup to 
leave, that Gawne ex- 
perienced an emotion 
which his heart had never 
felt. It was so new, so 
strange, that he knew 
not what it meant; but 
it was at that moment 
that the barristered 
doors of his soul 
first sagged to the 
leaning weight of 
love. And, as 
Kathleen's horse 
d i sappe ared 
along the trail to 
the Harkless 
ranch, one of the 
punchers, ceasing 
in surprise for a 



But she 




moment from his chores, murmured to no one in particular: 
"Doggone, if the boss aint larnin' to whistle purty good!" 
But the mist that clouded the unjust hatred in the heart 
of "Riddle" Gawne, did not in any way veil the impetuous 
character of the virile man, or hide to the slightest degree 
the spirit of revenge that raged within him. 

Proof of this was evidenced the following morning when 
Reb Butler, the Sheriff, who administered the law for the 
benefit of Hame Bozzam, paid Gawne a "business" call. 

"I come to jail you for last week's shootin'," he an- 
nounced bluntly, but with the tone of one tottering be- 
neath the weight of the duty assigned him to perform. 
"You shot up Cass an' Paisley an' you're wanted. Bozzam 
has entered complaint against you." 

"This law an' order craze is kinda sudden, aint it?" 
Gawne questioned half-smiling. 

"It may be sudden," retorted Butler, "but I'm takin' 
you dead or livin' — whichever you prefer." 

And Gawne rode back to Bozzam City with the sheriff, 
but the sight, as Bozzam saw it from his porch, was just 
a little different from the one he had expected. For the 
two drove up before his ranch-house and, drew their horses 
— and the man who should have been the prisoner dis- 
mounted first and helped the sheriff, whose hands were 
bound securely behind his back, from the saddle. He sat 
him heavily on the steps while Bozzam and his henchmen 
gazed on in amazement, their anger flashing in their eyes 
but their hands stilled in fear. When Gawne had mounted 
again he looked to Bozzam and spoke curtly: 

"You can cut down the overhead o' runnin' your peace- 
lovin' town if you do your own killin', Bozzam! " 

The leader of the rustlers and his men frowned sourly 
but made no move. But in the door stood another who 
had been loyal to the Bozzam outfit for many years — so 
many, in fact, that she was beginning to tire of the life — 
and her expression was different. She 
was Blanche Dillon, a former dance- 
hall girl, whose charms had so at- 
tracted Bozzam that he had caused 
her to abandon the dance-hall in 
favor of a position as his "house- 
keeper." As Gawne spoke, and she re- 
garded with a sneer the man- 
. ner in which his fearless 
words cowed Bozzam and 
the others, a look of ad- 
miration crept into her 
eyes and she smiled a 
ittle as s^e saw him 
ride triumphantly away. 
But Gawne did not 
ride far. When he was 
starting along the 
trail back to the 
Diamond Bar, and 
his form was sil- 
houetted sharp 
against the sky, 
there were eyes that 
followed carefully his 
course. They were the 
eyes of Nigger Paisley, 
the victim of the shoot- 
L (Continued on page 
&-. I0 9 



With Kathleen and 
Jane to aid him, 
Gawne struggled to 
his feet and stood 
smiling from one to 
the other. 



Early to Breakfast 



I WAS sure I had mistaken the time for my appoint- 
ment. It was the hour when early typists are hang- 
ing up their hats in the office and late parties are 
rolling home in taxis and most leading men are 
sleeping the sleep of the just entertainer. But Taylor 
Holmes met me before the breakfast room of his hotel 
without the suspicion of a yawn and with the brisk 
manner of one who has been up for hours. I said some- 
thing apologetic about getting there at dawn. 

"What do you mean, dawn?" he asked in evident 
amazement. "I wouldn't know how to get through the 
day if I began it any later. There is little enough time 
as it is." 

"Do you always have interviews 
before breakfast?" I inquired, ad- 
miringly. 

He fixed me with a quiz- 
zical gaze. "My dear 
young lady," he Degan 
paternally. "My break- 
fast is a dim memory 
of the past. It's ob- 
vious that you 
haven't had yours. 
Come right in and 
have a grape-fruit." 

"But I've had a 
grape-fruit," I pro- 
tested. 

"You haven't 
had one of these," 
he insisted. "They 
are from Florida and 
like nothing else in the 
world." And in the 
midst of a discussion of 
Florida versus Califor- 
nia citrus fruits, we 
compromised on cof- 
fee and interesting 
little rolls. 

He has al- 
ways had the 
early ris- 





Lewis- 
Smith 



Through his earlier years on the stage Mr. Holmes suc- 
ceeded in evading the motion picture — and then 
along came some characters that he found irresistible. 
Above, as Lord Dawlish, in "Uneasy Money." At 
right, as T. Boggs Johns, in "A Pair of Sixes." 

ing habit, he confided to me. He must have 
been the sort of baby that woke the house- 
hold with gleeful carols at five a. m. For 
him the world is so full of a number of 
things that the earliest hour of the day 
hardly gives one time to get the work done. 
As soon as we began to talk about his work, 
I understood why this was. Among other 
things, he was helping the Lambs with their 
gambol, rehearsing for a vaudeville skit, and 
practising intensive gardening in his summer 
home on Long Island, to say nothing of brows- 
ing through the library desk for a pen with 
which to sign his interesting Triangle contract. 
This would occupy an ordinary person for 
Bf twenty-three hours out of the twenty-four and yet 
■ Mr. Holmes has an air of looking about for the 
m next thing to do. He skimmed over his schedule 
* with an all-in-the-day's-work sort of manner that 

would make the proverbial busy bee blush. 
As far as I could gather, his life has always been one 
three-ring circus of activity. He gave me a typical in- 
stance of his experiences in Chicago which he evidently 
considered in the light of a summer's vacation. 

"I was working out at the Essanay plant," he 

told me, "when the opportunity came along to 

play the leading role in 'Seven Chances.' I would 

take a few scenes on the lot in the morning, tear 

into town for the matinee, and sometimes rush 

back for an extra scene between that and the 

evening performance. I used to snatch food 

and sleep between the theater and the stage. 

I learned to sleep standing up," he told me 

proudly and illustrated with one eye open 

like a benevolent stork. 

All this action he has put himself into 

his own career which began very calmly. 

Without this determination to "start 

something" he might today be a placid 

young attorney in a New Jersey law 

office. He belonged to a deeply 

conservative family which had 

Presbyterian prejudices against 

5^ the stage. The one exception 



Discovered: "Efficiency Edgar 's Courtship" was 
not so important in being Taylor Holmes' first 
picture as it was a genial satire on his own self. 

By Dorothy Allison 



give me a try-out in vaudeville. 

'I'm too hungry and tired right now to make you bust 



right out/ 
snicker.' " 



I told him, 'but I can produce a first rate 




Taylor Holmes' life has always been a three-ring 
circus of activity. The world is so full of a num- 
ber of things that it doesn't pay one, he believes, 
to oversleep. Above — in "A Pair of Sixes" 

they made to this general disapproval was 
Shakespeare, so the young aspiring actor 
went in strong for Shakespeare societies, 
playing everything from Falstaff to Romeo. 
The temptation for real experience was too 
great however, and he seized the first oppor- 
tunity that offered itself, — a chance to give 
imitation in vaudeville! 

It was the real cameo of his life — his incep- 
tion into the real limelight. Like your father 
brags about the first shipment of corrugated 
whatnots shipped from his factory, Mr. Holmes \ 
boasts of his advent into Gotham. 

"I was hungry that first day I landed there," 
says Mr. Holmes. "Oh, I guess I had funds enough 
for a snack, all right. But I landed there in a hurry V 
and hadn't shaved, nor eaten. Yet I faced a prominent 
Broadway producer. He dared me to make him laugh. 
He said if I 

COUld he ^M ^k Don Barclay posed 

( | ^B ^fe f° r a series of 

short comedies at 
the Essanay stu- 
dios during Mr. 
Holmes' sojourn 
there. While there 
he followed Mr. 
Holmes about with 
a cartooning pen. 



And he did. 

I have never seen any of Mr. Holmes' imitations but I 
should like to. He has a rare gift of mimicry which he uses 
unconsciously in his conversation. "I met Brown on the 
street today and he said — " he will begin and instantly 
he is Brown with all Brown's tricks of voice and manner. 
The vaudeville experience brought him to his career 
on the legitimate stage which culminated in the wildly 
popular "Bunker Bean." Through these years he had 
successfully evaded the films because of a prejudice as 
deep as that of his parents before him. This was a relic 
of the days when theatrical managers would have in 
their contracts a clause forbidding their actors to work 
for the screen for fear of losing prestige. These dark ages 
were cleared for Mr. Holmes by the Essanay Com- 
pany. 

"They came after me with 
scenarios that I couldn't re- 
sist,", he told me. "All my 
life I have wanted to play 
characters like 'Effi- 
ciency Edgar' and 'A 
Small Town Guy'. 
After my first experi- 
ence I liked the 
work for its own 
sake. And now, 
whatever else I 
may be doing, my 
screen work will 
come first." 

He is thrilled by 
all forms of comedy 
from custard pie to 
George Bernard Shaw 
and he has a really 
scholarly knowledge of 
the history of the drama 
on which he bases his 
very interesting theo- 
ries. He's to do a 
number of pictures 
for Triangle — 
under a three- 
year contract. 





67 



Farrar "Doubling" In 

the Movies! 



That is, she will ma\e 
two pictures grow where 
one grew before. 




GERALDIXE FARRAR has never made more than three 
pictures in a season, so far, but this year she will do six 
for Goldwyn; all, according to present plans, laid interiorly in 
the Eastern studios. But not exteriorly. Miss Farrar went 
to Wyoming in mid-July to get exteriors for her second picture, 
"The Hellcat," a Western drama by Willard Mack, in which 
the Metropolitan prima donna plays a dance-hall girl in a 
cow camp. 

She plans to complete four Goldwyn pictures this autumn, 
before the opening of the opera season; and two next Spring. 

The personnel of her company will probably change, to a 
certain extent, with each picture. 

68 




-(Do =jfwu 

'"00-91 






'~T I HIS is YOUR Department. Jump right in with your contribution. 
■L What have you seen, in the past month, which was stupid, unlife- 
like, ridiculous or merely incongruous? Do not generalize; confine your 
remarks to specific instances of absurdities in pictures you have seen. 
Your observation will be listed among the indictments of carelessness on 
the part of the actor, author or director. 




An Eye for a Pie 

IN "Lend me Your Name," Harold Lockwood, as the 
Bogus Earl, was shown at a distance of about two 
blocks from a mansion, upon a windowsill of which rested 
two freshly baked pies. 

It was either a case of mental telepathy or double sense 
of smell which enabled Harold to ascertain the exact loca- 
tion of aforesaid pies. Anyone must have some eyesight 
to see such small objects at such a distance, eh what? 
Jack Huepper, Milwaukee, Wis. 

Ho! Boy — Bring a Level! 

IN "Come Through," didn't I spy a Level street in a 
Montana mining town? And did a Montana mining 
town ever have a level street? 
Yes, Clara, it does in Hollywood. 

"O. L.," Seattle, Wash. 




A Heavy Car 

TN "Up the Road with Sally" an auto is driven swiftly 
-I- down a grade towards a garage. Just in front of its 
destination the car stops so suddenly that everyone is be- 
ginning to wonder if someone has been run down. But no, 
the driver (in nightie and slippers) jumps out in the mud 
and rain and takes a look at his gasoline gauge, which 
shows "no gas" as the reason for the car being "stalled." 
The driver bravely pushed the car to the garage. At the 
rate of speed the car was going it could easily have coasted 
ten feet more into the garage— but perhaps that wouldn't 
have been to the director's taste. 

Same picture. Time, about nine o'clock in the morning! 

Sallie (Constance Talmadge) drives to her aunt's man- 
sion, goes directly to the latter's bedroom, where Sallie's 
uncle had died late the day before, and as she enters the 
door registers surprise, and exclaims (as per sub-title), 
"Oh, Auntie, you have had your room all done over in 
pink." Think of it. all done over in pink while auntie was 
snoozing. Besides being a record job on the part of the 
trimmers, wasn't it somewhat callous of Auntie to begin 
alterations almost the minute hubby had departed "for 
regions unknown." 

A. P., New Bedford, Mass. 



Scientists, Attention! 

I HAVE made a most wonderful discovery that will as- 
tonish all the world. You have, no doubt, heard of 
the rightly famous jumping bean, but it remains for me 
to announce to you that I have discovered jumping — 
books! ! 

Prove it to you? Well, you just go to see "The Seal of 
Silence" when it comes to your home town and you will 
be convinced, for in the different stages of a closeup in 
the Doctor's living-room some books on the library-table 
are seen to change their position three distinct times in 
about thirty seconds! Before the closeup they are lying 
with the back (the title back) uppermost in a soldierly 
row, shoulder to shoulder. Then when the closeup is shot 
some of them have jumped to a different position, and 
then when the camera is brought back to its normal 
position they have changed again. 

Some books! Maybe they were books on St. Vitus' 
dance, eh? 

R. E. Larson, Green Bay, Wisconsin. 

Maybe It was a Borrowed Church 

I SAW Wm. S. Hart in "Dakota Dan" the other night, 
and I noticed Walt Whitman, who played the part of 
the parson, was dressed as a Catholic priest. Later on, 
there was shown a close-up of the church and, behold, the 
bulletin-board had written on it, "M. E. Church." Get 
the idea? 

H. C. P., San Antonio, Texas. 

Mixed Drinks 

IN "The Lesson" I noticed that the soda clerk made two 
sodas, one dark as though of chocolate or strawberry, 
and one light as though it was pineapple or lemon. The 
clerk passed them over the counter, the dark to the man 
and the light to Norma Talmadge. Next flash it showed 
a front view of them and they both had light sodas. How 
queer! 

Another incident in the same play was in the wedding 
scene. After the marriage had taken place the bride threw 
her bouquet down-stairs to the people. After the scramble 
was over you can imagine how the bouquet looked. Just 
a few flowers left. When the bride and groom came down- 
stairs, again we could see the same bouquet, but, my good- 
ness, where did all the flowers come from? S. funny, 
how they got there, isn't it? 

-H. S., Chicago. 

A Dust Bath, Perhaps ! 

I SAW something that struck me as rather foolish in "The 
Painted Madonna." Raden, the villain of the piece, 
comes in out of a downpour of rain, takes his coat off in 
front of the fire-place and shakes it, — and although the 
coat is thoroughly drenched, or supposed to be, clouds of 
dust issue from the garment. Many people noticed it be- 
sides myself and joked about it. 

Rose Cox, Tucson, Ariz. 

6y 



JO 



Photoplay Magazine 



Samson Again 

"N "Bluffing Father," a Billie Rhodes 
comedy, when the moving people come 
to take away the furniture 
which has been piled up against 
the door on the inside, and the 
men try to get in, they pound 
the door with such force that 
the walls tremble and shake 
and pictures on the walls also 
move and shake. 

Pretty strong men! One of 
them should be able to carry a 
piano all by himself. 

M. M. S., Toronto, Canada. 



H§-/ 




This and That 

JUST recently I saw Douglas Fairbanks in "The Half- 
breed." Very good show, indeed! But why, may I ask, 
did Doug wear a big thick fur cap when everything else 
indicated that it was midsummer? Also, Jewel Carmen 
enters the house, from a peaceful, sunny outdoors, and 
standing still a minute, her hair is wildly agitated as if a 
terrific gale were blowing! 

Why, oh, why, in a good many pictures, just as the hero 
is about to clasp the heroine to his manly bosom in the 
kiss of betrothal, the lady's hand will creep up around the 
manly one's shoulder, and if it be her left hand we see, 
nine cases out of ten, a big diamond solitaire will be 
planted on her fourth finger. Pretty quick work, that! 
Also do young men who are about to pop the question 
usually carry engagement rings around with them? Just 
'sposing they weren't accepted, what would .happen? 

"Puzzled," Devon, Penna. 

Century Plants, Perhaps 

RECENTLY I saw Earle Williams in "The Seal of 
Silence." 
One of the men who admires the doctor's assistant 
brings her a bouquet of flowers. 

Three years elapse and the same bouquet remains in 
the same place. 

Are they supposed to be real flowers or is it the style to 
bring artificial flowers to the girl? 

I wonder what they put in the water to make flowers 
last three years. 

M. L. L., St. Louis, Mo. 

Light on Auto Lights 

I\ "Mile-a-Minute Kendall," featuring Jack Pickford and 
Louise Huff and produced by the Paramount, there was 
an "old time" automobile. It represented an old fashioned 
car excepted for the fact that it carried the latest model 
of the Ford side lamps. In the early days of the auto- 
mobile no sidelights were carried and when side lamps 
first came into style they were not fitted with the latest 
style of "none glimmer" lens and were not so nicely shaped 
as they are now. 

Seph Ward, Paris, Ontario. 



Ever Been on a Modem Farm? 

WE have to pardon a good many things in comedies 
but sometimes directors do go to the limit. In 
"A Rural Riot," a L-KO two reeler, the city "vamp" 
emerges from an auto wreck resembling Eve without her 
Adam. After accepting the hospitality of a farmhouse 
she kidnaps Hughie Mack and returns to the city wearing 
a smart, tailored suit. Where, ye Christian director, oh, 
where came that suit which was certainly the product of 
some fashionable modiste? Surely not from the rustic 
community pictured. 

Llewellyn Lctman, Duluth, Minn. 

Say — You Doug! 

IN "Say, Young Fellow," where did the "Young Fellow" 
obtain the cap and two suitcases and get away with it, 
when he saw him arrive on the train, hatless and empty- 
handed, so that he could do some acrobatic stunts on the 
high shoulders of the Pullman seats? 

When did "Jane" change from her pretty white party 
dress to her pretty black taffeta dress, when we are told 
and shown that "Clay and the girl were missing last night," 
and the inference is that they were nabbed when going 
from the party? 

Who censors the spelling of the subtitles, and permits an 
extra e in "judgment," and 

Why should a man with a Yale diploma whistle the 
melody of "Fair Harvard," otherwise known (but not to 
Yale men) as "Believe me, if all those endearing young 
charms?" Of course we admit, that if he had whistled 
the Yale song, "Bright College Years," which has the mis- 
fortune to be known to the rest of the world as "Die 
Wacht Am Rhein," which certainly could not have gained 
the confidence of even "Miss Matilda," he would have 
been jailed for a German spy, and the story have a different 
ending. Yours truly, 

A. B. Roberts, Milwaukee. 

IN Mary Pickford 's "Stella Maris" the first time that she 
took a step she had on French-heeled slippers. When 
a person is an invalid do they put on high-heeled slippers 
as soon as they can walk? 

Mrs. R. F. Lussier, Birmingham, Ala. 

Oh, Boy! 

IN the "Biggest 
Show on 
Earth," Enid Ben- 
nett is entertained 
in a home where 
even the mention 
of a circus shocked 
the "lady of the 
house" and caused 
her 'most nervous 
prostration. But — 
Oh, Boy! A close- 
up of Enid (taken 
during discussion) 
showed her reading 
one of those shock- 
ing popular magazines. 
Janus, New Castle, Penna. 

An Apt Student 

IN "A Turn of the Card," Jack Kerrigan, as the "green" 
westerner, attempts to drive an auto although he knows 
nothing about driving one, with the result that he and 
his fair companion are both thrown into the ditch. So 
far, very good. Not fifteen minutes later, as per scenario, 
we see the hero swinging the massive car up the driveway 
of the heroine's mansion, quite as though he were a close 
relative of Barney Oldfield. 

C. B. W., Somerville, Mass. 




A Refugee From Russia 

Hedda J^ova is the daughter of a revolu- 
tionist. And she's hiding — before the camera. 



HEDDA NOVA ran her long white fingers through 
the fur of her long white wolfhound. 
"Ah, the poor Russia!" she sighed esoterically. 
"So torn-up now, it is pitiable. Some day I'm 
going back to Russia. 

"That is why I do not want my identity known," she 

pursued; "if they found out I was Hedawiga M , the 

news might get to Russia and enemies of my family would 
recognize me and — well — things might not go so well for 
me and others I know." 

If you can remember the name of the first 
Revolutionary Cabinet of Russia, and can 
pronounce his name — but you couldn't pro- 
nounce it. Thus the identity of Hedda 
Nova's father and Hedda Nova must re- 
main a mystery for the duration of the 
war at least. 

She was born in Odessa, Russia, almost 
twenty-one years ago. Her father was a 
manufacturer of pianos and had homes in 
Odessa, Moscow, and Petrograd — -so 
quite naturally little Hedawiga de 
veloped dramatic talent at a very 
early age. She was educated in 
a German convent; she lived in 
Paris for a while; then in St. 
Petersburg, finally making her 
way home to Odessa. Then 

44 Hedawiga M — " is the 
way she whispers her real 
name. The title of the 
wolfhound is unpronounce- 
able. 




came — the war. The inevitable disruption of home ties: 
her brother, fighting for Russia, was killed in battle; her 
father began to have mysterious affiliations. . . . 

Then it was that Hedda left her home to go to London; 
and from London to New York, where she became asso- 
ciated with motion pictures. Miss Nova appeared in 
Lubin photoplays; for Edgar Lewis in "The Bar Sinister"; 
and finally, she joined forces with Vitagraph. 

She is now the star of a serial, "The Woman in the 
Web." 

Miss Nova has not yet mastered the English tongue, 
but she is trying very hard. It is to be hoped that she 
will retain always her delightful accent, although it 
doesn't help her on the screen. But so long as she 
continues her silver-sheet appearances, there will be 
interviewers sent to interview 
her and — well, the ac- 
cent is lovely 1 



Evans photo 



■■■: : 



Little Miss Aoki is all 
the more charming in 
her Japanese dress since 
she has become thoroughly 
Americanized. 



An American 
From Tokio 



Whatever her name may sound li\e, we 
pronounce her to be thoroughly charming 



WE were sure it was Su-ru 0-key, pronounced 
with the accent on the two first syllables. 
And we went on calling her that, never 
dreaming that it was all wrong. Until we heard that 
Sessue Hayakawa wasn't that at all, but Susie — oh, 
something. And that discouraged us for the other. 
That's why we argue that Tsuru is a popular personality 
in pictures. Hard on the ears, but easy on the eyes. 
Despite the fact that we can't pronounce her name, re- 
gardless of all our mispronunciations and tongue-twist- 
ings, we go to see her. 

Little Miss Aoki is all the more charming in her 
Japanese dress since she has become thoroughly Ameri- 
canized. Just as her familiarity with the American dances 
has enabled her to do the popular dances of the Occident 
gracefully. 

Born in Tokio, she came to America with her uncle, 
Otto Kawakami, a Japanese actor of reputation, who 
placed her in a convent at Pasadena, Cal. She began 
her stage career with the Scoveli Juvenile Stock Com- 
pany of California in "A Daughter of Isis." Later she 
starred in a Majestic picture, "The Oath of O'Tsuru 
San," and soon after joined the New York Motion Pic- 
ture forces under Tom Ince. Miss Aoki played in many 
of the Hayakawa Lasky pictures, and when the talented 
Jap formed his own company she left to continue in 
his support. 

The Answer Man tells curious film followers every 
month that Tsuru Aoki is in private life Mrs. Sessue 
Hayakawa. 









- ..W 1 ■ 



In private life she is Mrs. Sessue Hayakawa. 



72 



CLOSE-UPS 

EDITORIAL EXPRESSION AND TIMELY COMMENT 



Starting For a long time Photoplay Maga- 

Something. zme nas ca U e d attention to the 
frailty, the mortality — so to speak 
— of the best of our film plays. A great spo- 
ken drama lives from generation to generation; 
so does a book; yet works of genius on the 
screen — and there have been a few of these — 
have lived a life of months, instead of years. 

There have been announced for the coming 
year a number of reissues. One of the biggest 
producing firms has listed a large group of these 
among its most important subjects. The biggest 
single exhibitor in New York City has dipped 
back for his comedies into the favorites of 
several seasons ago. 

These fellows are starting something — and 
that "something" is a determination to give 
enduring live to photoplays that ought to endure. 

We cannot exaggerate the importance of this 
movement, nor give it, in a careful manner, too 
much encouragement. The only incentive that 
an artist ever has for the expenditure of his 
utmost effort, his vitality — his very soul — is 
the thought that his work will live on, and on. 
Here, after ages of quick extinguishment, is 
possible immortality for the actor. Financial 
reward, however great, has never been sole fuel 
for the fires of genius. Were photoplays 
always to be as transient as they have been, a 
director with the heavenly fire of Shakespeare 
would be as mortal as the voice of Edwin Booth- 
Reissues are the first chapter in the book of 
permanent and master photoplays. 

A Thought Germany, which has made a spe' 
For Today, ci^ty °f stealing other men's ideas 
and perfecting them, is going to 
fight the battle of peace with the photoplay — 
among other things. 

Her propaganda of commerce and ingratia- 
tion 'is going to be even more insidious than her 
propaganda of spy-raising and money-gathering. 
These films are not going to bear German 
labels — oh, no ! 

After the war the screen is one of the doors 
through which beaten Prussia will endeavor to 
sneak piously and greedily upon an abhorring 
world. 

We can make peace films, and trade films, too. 

It is a thought for today. We may have to 
put it to work tomorrow. 

"It's an The photoplay in its earliest 

/// Wind " Y ears gave the cheap travelling 

theatrical attraction a very 
hard punch in the pantry. A season or two 
ago it sent it down for the final count, and 



removed the No. 3, 4 and 5 road company from 
the country forever. 

The new railroad rates give the photoplay 
still another advantage over the spoken drama. 
Quite justly, the railroad administration has 
refused to discriminate with reduced rates in 
favor of traveling theatrical troupes this year. 
Indeed it could pursue no other course. 

For most of the shows, railroad fares are 
now absolutely prohibitive. In some Eastern 
states, where fair-sized- "stands" are close to- 
gether, travelling will be done by automobile 
except in the severest weather. But of course 
this is practicable only in a comparatively small 
corner of the country. For the rest, there will 
be the visits of distinguished stars — and motion 
pictures. 

In 1918-19, and we dare say in the years to 
come, the screen must be the bread-and-butter, 
the backbone and mainstay of drama, to the 
American people. 

Let us not be pinheaded enough to "crow" 
over this exigency of the theatre, which once 
considered the photoplay its poor relation. 
Rather, let us realize our real duty as well as 
our opportunity: the duty of constantly provid- 
ing cheerful, healthy, artistic relaxation for the 
mighty nation on whose shoulders the burden 
of the world has been laid. 

In that spirit, let's go to it ! 

An Optic O. K. If motion pictures hurt your 

From Dr. Bahn. e Y es > see an oculist. 

It means that you need 
spectacles or eye-treatment, says Dr. A. C. Bahn 
of New Orleans, in The Chicago Tribune — not 
that the movies are hurting you. Dr. Bahn, 
continuing, avers that a combination of proper 
projection, well-ventilated theatre and average 
good music is not only entirely harmless to any 
eyes in proper focus, but is actually beneficial 
to the general health. 

Quoting the doctor: "If moving pictures in 
moderation cause ocular discomfort, it is be- 
cause the eyes are not right. A person with 
normal vision should be able to enjoy at least 
four sittings of one and one-half hours each 
week, with no eye discomfort whatever. 

"In looking at motion pictures one should 
not stare at any one object, but should try to 
look at the screen as a whole, or from point to 
point on it." 

The Qreat A season or two ago the abandon- 

Trek. ment of Los Angeles as a film 

producing center was seriously 

considered by various film manufacturers who 



74 



Photoplay Magazine 



had suffered there at the hands of certain unap- 
preciative private citizens and public officials. 

In all probability the coming winter will see 
Los Angeles the absolute and complete capital 
of film production. 

A matter of coal. 

Coal must be reserved exclusively — this 
winter, in the East — for warming homes and 
supplying energy to necessary productions that 
are essentially resident. In Los Angeles there 
are sunshine and water-power electricity. 

The Great Trek — the biggest in the history 
of the industry — is now on. 

By the first of December almost every con- 
cern will have concentrated all of its studio 
activities in Southern California; and, as the 
executive offices must per necessity remain in 
New York, the film magnates will be in for a 
winter of transcontinental commuting. 



?? 



Here Was A A few years ago any man re- 
Quiet One ! porting the secret making and 
the secret exhibition of a really 
big motion picture, under the highest auspices, 
would have been ordered to "tell it to the 
Marines.'* 

Nowadays anybody who said "tell it to the 
Marines," in any derisive fashion whatever, 
would be kicked off the front stoop. The 
Marines have come out of their oblivion and 
stand in the first rank of the glorious. 

And motion pictures have become so mighty 
that a really big one can be made and put 
across — in the fashion intended — without the 
help or even the knowledge of any press agent. 

Such a picture has been made — was made, 
more than a year ago. 

It was called "Liberty," and was the first 
screen product of The Committee on Public 
Information. David Wark Griffith is said to 
have been the director. 

This film was sent to Russia to be generally 
shown, in the custody of a theatrical agent 
colloquially known as "Whispering" Smith. 
Its subject-matter was the career of an immi- 
grant, and showed him arriving at Ellis Island, 
in New York harbor, and his eventual winning 
of economic freedom and a competence in the 
American West — in a word, the rise of a slave 
of autocracy to manhood under the benign sun 
of democracy. 



*« 



"The Finger Commissioner of Licenses Gil- 
of Justice. ' ' christ, of the City of New York, 
banned "The Finger of Justice," 
Rev. Dr. Smith's exhibition of the social evil in 
the guise of a moral crusade. 

Good work. 

The pre-eminent requisite of an American 
film is health. We do not wish it to be namby- 
pamby, or nasty-nice. We wish it to be factful, 
strong — and healthy. 



Any parade of vice, morbidity, criminology 
or pessimism is not healthy, whatever the pur- 
pose of the exhibition. 

Preachers as well as producers ought to 
learn this lesson. 

And they will. 



1? 



"Walfy The shoemaker must stick to his 
Funny!" l ast > even though he is selling liberty 
bonds. 
One of the Great Trio who went east from 
Cellufornia to assist the government in its 
mighty campaign for freedom funds was the 
most famous comedian in the world. But as 
those who know him know, his antic fit is 
donned and doffed with his grease-paint; in 
other whiles he is a pensive, rather sombre 
young man of artistic instinct and serious view- 
point. So, the person who soberly harangued 
a great crowd in New York was not Charlie 
Chaplin, but Charles Spencer Chaplin. And 
the harangue, while sincere and forceful, was 
no more electric than the speech of a capable 
four-minute-man. Suddenly a hoarse voice in 
the distance yelled "walk-funny!" Charles 
Spencer paused one agonizing moment — then 
died on the altar of liberty. Charlie "walked 
funny," and after the laughter the subscriptions 
came in thousands and tens of thousands. 



% 



Lila Lee — and Paramount heralds the 

Truthful Publicity, approach of an astound- 
new star, one Lila Lee, a 
young girl whose extraordinary antecedents 
promise an art as rare as it is exotic. No living 
woman has emerged from such strange circum- 
stances of life and parentage. Her father, a 
follower of Rasputin and an adherent of the old 
Russian regime, was sent with the Czar into 
exile. Her mother, a Princess who was also a 
revolutionist, died a heroine of the Battalion of 
Death on the Western front. The child hetself 
was captured and taken to Germany, and after 
appalling adventures escaped to Sweden and 
made her way to America as a stowaway. Her 
Russian name is unpronounceable, so — 

Now there is the regulation scheme to get 
Lila across with the boobs in good snappy 
fashion. 

But alas! Mr. Zukor and his voice-in-the- 
wilderness, John Flynn, are not the least bit 
Foxy. They have no imagination. They are 
simply telling the truth about Lila Lee — that 
she was a fascinating little vaudeville personage 
called "Cuddles," that Mr. Lasky saw her, and 
recognized latent dramatic talent, as well as 
beauty, and gave her a contract; and now they 
feel sure she will come through. 

What a sad, dull pass the movies are coming 
to when managers and press-agents spring a new 
star on nothing but the truth! 




The Shadow 



St 



age 



A Department of 
Photoplay Review 



By Julian 
Johnson 



As Charity Cheever, in " We 

Can't Have Everything," Kathlyn 

Williams is the veritable woman 

or Mr. Hughes' novel. 



ii ^rll 



(HE Screen needs Stories!" 

This is the favorite observance of the critic on 
an inspirationless day, the small-talk of ignora- 
muses who would uplift the movies, the routine 
advice to amateur photoplayrights, the assertion of the 
producer when invited to give down great truths, the 
heaviest hammer of the knocker, the actor's excuse for 
poor work, and the director's eternal shout. The remark 
was first made, probably, about 1910; it has been repeated 
continually, with small variation or expansion, ever since. 

But let's lift the foot from the throttle, step on the brake, 
come to a quick though 
gentle stop and ask our- 
selves an abrupt and 
honest question: "Is 
the greatest need of the 
screen more stories?" 

In one sense of the 
word, no. 

You see, it all de- 
pends upon just what 
you mean by "story." 
The common, popular 
acceptance of it is a 
good plot; novel if pos- 
sible, but anyway well- 
knit, glued together with 
the mucilage of suspense 
and arriving at what will 
be at least a satisfactory 
conclusion. In that sense 
of the word, the screen 
does not need stories. 

Our screens today are 
— too many of them — 
deserts devoid of life. 
What the screen does 
need, and must have, is 
real human character. 

A plot without char- 
acter is an empty shell, 
and a plot is the first 
consideration today. 




The charm of Elsie Ferguson is 
and each finds scope in ' 



The literature of the world is not a matter of plot, but of the 
lives of men and women. Almost every great master of fic- 
tion and drama has been very weak in plot, very strong in 
his understandings of the well-springs of human nature. 
Thackeray, the greatest English novelist of the Nineteenth 
Century, had almost no sense of plot at all. Dickens' plots 
were immeasurably better — and as an immortalizer of 
human life he was immeasurably inferior. Shakespeare was 
so numb in the plot-faculty that almost all of his dramatic 
schemes were stolen. The corner-stone of Goethe's fame 
is his reincarnation of an old folk-legend, "Faust." 

There is nothing so 
narrow, so conventional, 
so lifeless, as plot in it- 
self. Consider the love- 
story, which is the sub- 
stance of nine-tenths of 
all dramatic or narrative 
fiction. There is only 
one of two..i<endings pos- 
sible: he gets her, or he 
doesn't get her, and in 
any consideration o f 
the prevailing type of 
pleasant plays, we may 
assume that he does. It 
sometimes takes a whole 
reel to introduce him, 
and her. They will 
clinch in the last two 
hundred feet of reel five. 
Only the children, and 
the simple-minded, are 
going to be alarmed for 
a moment by the tangle 
of complications in reels 
two, three and four. We 
know they will come 
out straight. They al- 
ways have. 

Now for goodness 
sake, why waste film, 
and an immeasurable 



both physical and spiritual, 
'The Danger Mark." 



75 



7 6 



Photoplay Magazine 




In "The Death Dance," a well-constructed melodrama, Alice Brady 
and Robert Cain do especially fine work. 




Morocco was the one lemaining spot Doug Fairbanks hadn't visited 
— dramatically. But he got there. 





> 

1 




LiJ 




SI 


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1 




F- >~<~^^^^^^H!mt.- 







Jesse Lasky is responsible for Miss Clark's performance of both Eva 
and Topsy, in "Uncle Tom's Cabin." 



amount of time, in reels two, three and four at all? 

There is only one answer; there never can be but one 
answer to recreate, in shine and shade, the processes and 
courses of that creature who is bigger than the world, 
greater than the cold stars, supreme by intellect and soul 
in the visible universe — the human being. Accident and 
incident are only momentarily interesting; the little vagaries 
of human hearts; the fear and tenderness and passion 
and resolve of woman; the pettiness and greatness, the 
brutality and spirituality, the weakness and the strength of 
man — these things, and these alone, are the eternal enchant- 
ment of art. 

The appeal of humanity on the screen is instant and 
universal. The average Chinaman never saw any of the 
surroundings of Charlie Chaplin — yet in his bamboo movie 
huts on the banks of his yellow rivers he howls with under- 
standing laughter. 

Art which is art is nothing more than a selection from 
life. And life has no plot. It just happens, and as we 
make the best or the worst of our conditions it is fine or 
sordid or merely a long mediocrity. The great stories of 
the world are not the annals of heroes downing villains, 
or young ladies protecting their virtue, but of men and 
women rising above or falling victims to the seeds of 
spiritual decay which are implanted in every one of us. 
Will Hugo's "Les Miserables" be remembered as a long 
and rambling chronicle of events connected with the Na- 
poleonic era — or as the stupendous epic of a self-reclaimed 
criminal, Jean Valjean? The highest type of comedy is 
never plot, but the reflexes of one or more regular human 
beings in difficult situations. 

The very best example of man and woman vs. plot that 
I've found this month is a play called 

ALL MAN — Vitagraph 

It was written by Donn Byrne, and appeared in a weekly 
under another name. It is screen-directed by Paul Scardon, 
and stars Harry Morey and Betty Blythe. It is the story 
of a weary, powerful toiler in a steel-mill, tempted to an 
easy life of criminal adventure by one we might term a 
"practical socialist." Morey in a gambling house meets a 
woman of great beauty, super-sex, considerable brain, a 
heart not wholly calloused, and a convict husband. Played 
by Miss Blythe. What happens is all wrong from the con- 
ventional plot standpoint. His leg broken in a safe-blow- 
ing accident, Morey is nursed back to health by Blythe, in 
secret, and then goes to jail to save her. When he comes 
out he has had enough. She has stood by, and, with a com- 
fortable fortune that she has saved for him, he implores 
her to marry him and go straight, since her husband has 
long since died in prison. But does she? She does not. 
"Why should I kid myself about loving the cows and 
chickens?" she murmurs — and Morey takes a little country 
wife to his bosom. A small, sharp, narrow wife of positively 
venomous virtue. The police officer who put Morey away 
visits him, and, in some pride, boasts that he, through cor- 
rection, made him. The wife hears, and the copper realizes 
that he has spilled enough beans to make a famine in 
Boston. There is a quick divorce, and a general yoo-hoo- 
ing on the part of the ultra-sanctimonious community. 
Then the girl of the world, informed of facts by the thor- 
oughly repentant policeman, realizes that her heart and 
duty lie together. This is a finely titled story of real life, 
a morality without mush, a delightful combination of eter- 
nal truths and commonplace realities. My one criticism 
is that the toiler's turn to criminality is too abrupt. 

FOR HUSBANDS ONLY— Jewel 

Lois Weber has an insight keener than most of her con- 
temporaries, and it is that insight which makes her take 
the popular yarn of the chased and chaste young wife and 
burlesque it. Mildred Harris plays an angel-faced in- 



The Shadow Stage 



77 



nocent, as devoid of heart and real morale as many a 
real-life doll, selected by a roue — enacted with some con- 
siderable charm by Lew Cody — as his current or series 
adventure. The purpose of Miss Weber's finely photo- 
graphed and elegantly mounted tableaux is to show this 
child eternally on the verge of the precipice, but never 
falling over. Her feet begin to slip at last, and when the 
unsatisfied Don Juan devises a little amateur show in 
which the characters are too plainly himself, the lady and 
her husband, and the action the complete consummation 
of the deviltry he planned but fell down on, we feel quite 
sure that the balked villain will get his revenge: a murder 
at home or a scandal in court. In fact the heartless but 
scared little girl thinks so, too — until the husband, in the 
final footage, confesses that he went to sleep and missed 
the whole pantomime! It must be admitted that Chan- 
ning Pollock will like this a lot better than Susie Siwash, 
who's just gotta have a little love at the end ; nevertheless, 
here is a fillip for your brains, on the screen. As devised, 
the trick finish seems a bit light to carry all that went be- 
fore. 

WE CAN'T HAVE EVERYTHING— Artcraft 

The finest cast of the year; intelligent detail at once 
evincing humanity and good breeding; splendid mounting 
and fine direction; a story which is real and characterful. 
It is certainly all of these, although the photodrama is by 
no means the equal of Rupert Hughes' novel. It couldn't 
be, for that novel, more than anything else of Hughes, was 
didactic and analytical rather than dramatic. The theatric 
lapses in Mr. Hughes' long and- patient character studies 
have been supplied with a bit of mechanical plot here and 
there, and, strange to say, two or three of the author's 
very few sharp spots have been left out altogether in the 
transplanting. New York scenes, it seems to me, have 
never been so wonderfully reproduced. DeMille's vision 
of the Biltmore Cascades is more than scenery — it might 
be that great salon of the dance itself. Kathlyn Williams 
is the very Charity Cheever of the author's imagination — ■ 
a fine and brainy piece of acting; Elliott Dexter, heavily 
impressive as Jim Dyckman; Sylvia Breamer, sensuous 
and exquisite as Zada L'Etoile; Wanda Hawley, blondly 
pretty as the light-headed, Kitty. Theodore Roberts, 
Thurston Hall and Raymond Hatton figure in the play, 
too. Here the Lasky firm Hooverized its own fire; you'll 
see it acting in these scenes. 

TOTON— Triangle 

Olive Thomas' new picture, "Toton," is the best thing 
she has ever done. It is the story of a little French girl 
who becomes the more or less conventional model for an 
American artist. She marries him, and has a child — but 
there the story has only started. The artist is called home 
by the death of his mother, and his father, taking advan- 
tage of circumstances, persuades the young man to stay 
with him, and has lawyers annul the marriage in Paris. 
The model eventually dies, but not until her baby, Toton, 
has been born, and is entrusted to a friend who is an 
Apache. So Toton grows up to impersonate a boy, and be 
an Apache; and Toton's father, growing to middle age 
alone, does not marry, but adopts a son. When the war 
breaks out that son comes to France with American troops, 
and, on leave, searches out his father's old acquaintances. 
He meets Toton the gamin under untoward circumstances 
— and the romantic end is in sight. A story well told, with 
Miss Thomas in the dual character exhibiting real faculties 
of pathos, characterization and emotion. Norman Kerry, 
as the artist and then the father, is correspondingly effec- 
tive. The direction is Frank Borzage's, and the story was 
written by Catherine Carr. The photography is so good 
that it is absolute poetry of vision. 




Carmel Myers is both an Oriental and an old-fashioned beauty in 
"The Dream Lady," which starts better than it finishes. 



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'The Girl from Bohemia" has an especial interest in that it marks 
the conclusion of Irene Castle's present photoplay acting. 




In "Cactus Crandall" Roy Stewart turns author as well as actor. The 
play is his first. 



78 




Lois Weber has an insight keener than most of her contemporaries. 
Her latest is "For Husbands Only." 




"Back to the Woods," with Mabel Normand, is an account of a 

society girl determined not to have a society husband thrust 

upon her. 




The very best example of man and woman vs. plot to be found this 
month is a play called "All Man," featuring Harry Morey. 



Photoplay Magazine 

THE DANGER MARK— Artcraft. 



The beauty of Elsie Ferguson is a thing both spiritual 
and physical, and that combination has been known to 
upset thrones more surely then revolution. It dominates 
the Robert Chambers' story named above, even through 
an uncertain sort of scenario and certainly uninspired 
direction. This is the story of the disasters attendant 
upon an inherited taste for liquor, and a plot in which the 
villain is villainous and the hero more or less heroic. Miss 
Ferguson makes the best possible use of her situations, and, 
as we have said, is at once spiritual and physical in her 
loveliness. Crauford Kent, Mahlon Hamilton, Gertrude 
McCoy and W. T. Carleton are in the cast. 

A PAIR OF CUPIDS— Metro 

Francis X. Bushman and Beverly Bayne in a corking 
story! I don't say the best they have ever had, for I 
haven't seen all their plays, but this is certainly the best 
that has come to my eyes. The problem is the bringing 
together of a human cash register and an animated doll, 
who should marry, but won't. Finally the Uncle of one — 
at the same time guardian of the other — rents a pair of 
twins from an impecunious family, and surreptitiously 
slips a twin apiece to the young parties to make them 
human. He succeeds, but the success is a personal dis- 
aster for Uncle, since the twins are kidnapped. The rest 
of the story shows how an author who knows his business 
can keep the excitement going after she has said yes. 
Luther Reed, by this time in all probability an army officer, 
is responsible for the tale. 

UNCLE TOM'S CABIN— Paramount 

To put this fulsome old story — a piece of nationally 
decisive literature — upon the screen required something of 
the talent and patience of the artisan who can engrave the 
Lord's Prayer on a sea-shell. And J. Searle Dawley, who 
scenarioized and directed here, is certainly no shell-worker. 
He missed the scope of the work almost entirely, prin- 
cipally, I think, by giving literal transcriptions of the 
stagey old main incidents instead of making any attempt 
to humanize the realities of a great subject. Jesse Lasky 
was touched by genius when he ordered Marguerite Clark 
to play both Eva and Topsy. Miss Clark is satisfactory 
in both parts, but nothing more. Dawley's grouping and 
handling of his scenes is poor work indeed. I still think 
that the laboratory dropped in a reception scene from 
"The Great Love" under the sub-title "The death of little 
Eva." It certainly has large, social qualities. Frank Losee 
gave a good acting performance of Uncle Tom, but he 
was never the real Uncle Tom, for he was utterly devoid 
of pathos. "Uncle Tom's Cabin" hasn't been spoiled. It 
will be done again some day. 



THE VAMP— Ince-Paramount 

I am not going to speak about a conventional sort of 
story, but about the recent transfiguration of Enid Ben- 
nett. When Miss Bennett first came into pictures she 
brought cow-eyes, a trembling lip and such outrageous in- 
nocence that one longed instinctively for a Keystone pie. 
But Enid Bennett has quit being a cold plaster saint, and 
has become a nice warm girl. Her eyes are still wide, but 
there is a bit of the devil in them now and then; she is still 
fnnocent, but she makes her characters appear to know a 
thing or two; her lips still tremble — but only at the proper 
time, and at other times they are firm or roguishly smiling. 
"The Vamp" is just the triumph of Enid Bennett as a 
human being. 

(Continued on page 102) 




Irene Castle Will 
"Carry On" 



After completing the biography of her 
heroic husband, the dancer will go to France 



By Dorothy Allison 



They had met in New Rochelle when she was Irene Foote 

without the slightest dream of the stage or of anything 

beyond the sedately regulated life of a debutante. They 

had always known that they danced well together but they 

had never thought of taking it seriously until an incident 

in Paris opened up new and unexpected possibilities. 

They were dancing together in a quaint little French 

cafe when they suddenly realized that everyone else on 

In her determination to go into the floor . had Stopped and 

was watching them. As the 
music ended, the fat little 
manager rushed out and 
begged for an encore. "We 
both felt rather foolish," she 






WHEN the romances of the great war are written, 
there will be one among them stranger and 
more picturesque than fiction. It began with 
the throb of violins in the tango and ended with 
the beat of drums in a military funeral. It was made up 
of youth and rhythm and frivolity and sacrifice and the 
tragedy of the stiff upper lip. Yet the word is not tragedy 
for its sum total holds something that is far beyond either 
triumph or disaster. 

I met Mrs. Castle in her sunny little study where she 
was sitting at a huge desk several sizes too big for her. 
She held out one slim hand in greeting and pushed aside 
a pile of manuscript with the other. This was the 
collected data, she told me, on the life of Vernon Castle 
which she is writing and which she intends to finish be- 
fore leaving for France. It is to be more of a portrait 
than a biography, she added earnestly, ... an intimate 
impression of the man himself rather than a. record of 
names and dates and places. 

After her first greeting, there was none of the restraint 
that often comes in the presence of bereavement. She 
speaks of her husband simply and naturally as if it were 
a relief to put into words the memories with which she 
has lived for months. Her work with the biography has 
brought her back to the very beginning of their life to- 
gether. She told me something about that beginning. 



war work the talented dancer- 
actress has caught the rigid 
fervor of the French meaning 
of "Carry On." Below — Mrs. 
Castle with her husband during 
their dancing days. 




Ira Hill photo 



79 



8o 



Photoplay Magazine 




Above — Scene from Irene 
Castle's Pathe serial 
"Patria." At right — Ver- 
non in his uniform of the 
Royal Flying Corps. 



told me, "but he was so 
very polite and fat and ex- 
cited that we didn't know 
how to refuse. We danced 
there all evening and when 
he offered us a permanent 

engagement we took it — for one week. Gradually 
we began to realize that a profession had been 
thrust upon us. And soon after we returned home, 
we found our own country gone mad over dancing 
and our profession assuming an importance all out 
of proportion to its frivolous beginning." 

Thus they danced their way into the center of 
the wildest whirl that this country has ever 
known. It was a brilliant and colorful career ended 
only by Vernon Castle's enlistment in the Royal 
Air Force of Canada and his sudden death through 
a fall from his aeroplane in a Texas camp. Yet, 
in a sense, it is not ended because of Mrs. 
Castle's determination to gather up the broken 
threads and go on bravely alone. * 

When her book is finished, she starts for 
France to become a part of one of the "Over- 
seas" divisions that are bringing cheer to the 
recreation halls in camp. 

I took for granted that she would dance 
for them. 

"I am not so sure about the dancing," 
she answered. "Elsie Janis. who has 
given such delight over there, writes 
me that nearly all the stages are 
about the size of an ordinary 
table and quite too small for 
dancing. I may simply de- 
vote myself to canteen work 
or to anything else that turns 




up. The boys are not critical — I know that 
from those I have met on this side. Whenever 
the chaps from Vernon's squadron are in town, 
they always come to call on me and it helps us 
both to talk to each other." 

You can readily understand how it helps 
"the boys." She is a joy just to look at in her 
soft shimmering gray with the grace about her 
that continually suggests the little bronze by 
Troubetzkoy. You think of her as the sym- 
bol of thousands of devoted and courageous 
wives whose minds are set in an invincible 
determination to "carry on" the work which 
their husbands gave their lives to preserve. 
She is giving up a whole lot to "carry on." 
In her slim indifferent way she has won wide 
recognition on the silver-sheet — and 
greater fortune than was hers as a 
dancer of international popularity. 
Through the medium of the 
movie, she has become a 
personality to thousands 
who had never watched 
her dance. Her career 
with Pathe began auspi- 
ciously with the patriotic serial, 
Patria," and she carried on in 
longer-length Pathe-plays such as 
The First Law" and "The Girl from 
Bohemia," "The Mysterious Client," 
and "The Hillcrest Mystery." 

Mrs. Castle's serials of adventure 

and movies of mystery will be tame 

work for her when she comes back 

from over there. She once said, 

you know, that if Pathe didn't pay 

her for doing it, she'd play in their 

pictures for nothing, she's so crazy 

about it. The studio work enabled 

her to live at home; to spend much of 

her time in her garden or romping with 

any one of her ten or twelve dogs. And 

Irene Castle, a celebrity for her quaint 

costumes and her clipped hair and her 

slim grace and her little half-quizzical, 

half-serious half-smile, may not appear 

before any audience but "the boys" till 

it's all over, over there. 

The English have coined a number of 
great expressions since August, 1914. 
Among them is that fierce, fine, tender- 
strong determination to go on to the 
end no matter what griefs or de- 
privations have blocked the way 
— in the exact phrase, to "carry 
on." So, Irene Castle will "carrv 
on." 



e<i*feO>-! 



Transfiguration 



FOR two weeks, with the assistance of the Location 
Man, the Director had been looking for a Type. He 
wanted a Derelict. No half-starved extra, willing to make 
up to represent anything for $5.00. He must have an 
out-of-the-ordinary piece of real human wreckage with 
a "tragic something" in his face. He had looked vainly 
at hundreds of unshaven, evil smelling hobos about the 
city. 

Then — they had roused him out early in the morning to 
go and look at a prospect. The bullet head, unkempt 
hair, scarred, unshaven features, and dirt, dirt, dirt, be- 



sides that "tragic something" proclaimed his Type. 

He had given the man a dollar and extracted from him 
a promise to be at the studio at one o'clock that afternoon. 

That afternoon — in high spirits — the Director entered 
the studio lobby and looked around. 

Someone detached himself suddenly from a bench and 
came forward. The Director looked at him. It was his 
precious Type. But the "tragic something" was missing 
from his face. His features radiated contentment. 

With the dollar, he had achieved a bath, shave, hair-cut, 
and was even wearing a clean collar! 



A Dramatist Who Came Back 



Charles T. Dazey, successful retired 
playwright, turned to the screen at 
middle age and found new triumphs. 



THIS is the romance of a middle-aged man 
who had quit. 
What is more tragic than the suc- 
cess who has nothing more to suc- 
ceed at — the man to whom the fruits of 
triumph are only ashes? 

There are a number of dramatists in 
that condition in America. Their names 
are household words; some of them have 
homes in California and some of them 
have homes in Long Island, and none ot 
them really has to work. But they are 
not very inspired, now. Their new 
"successes" have something of an echo 
about them. They must be very un- 
happy — really. 

A little over three years ago one of the 
head members of the set of weary suc- 
cesses was Charles T. Dazey, who, when 
he dies, will probably have "In Old Ken- 
tucky" engraved on his granite because he is 
the author of the one supremely human 
drama about a horse-race. Dazey was what 
Dr. Osier would call an old man — not an old 
man physically, for he 
was and is about as lively 
as they make them: but 
his hair was gray, he no 
longer had to earn Tues- 
day's war-bread on Mon- 
day, and theatrical his- 
tory had gathered him for 
her own. He wa's so old 
that he had a son (now 
Lieut. Frank M. Dazey, 
U. S. E. F., France) about 
to graduate from Har- 
vard. Frank was a pretty 
bright boy, and all of his 
father's fellow-dramatists 
on the stage Olympus 
thought it was an awful 



Mr. Dazey, at work on a new 
photoplay with the trusty 
little typewriter on which he 
has personally "ground out" 
every 'script. Below — a scene 
from his "Wolf Lowry." 




thing that a smart man 
like C. T. should let his 
son — college-bred, too — 
fool around a cheap trade 
like the motion picture 
business. For Frank went 
straight to the scenario 
department of the Vita- 
graph company. And he 
was a success! 

Old Dr. Faust, accord- 
ing to the immortal and quite un-Prussian Goethe, got 
hold of a beverage that turned his clock back to o a. m. 
or thereabouts. Frank's entry into the Vitagraph works 
had exactly that effect on his father. Here was something 
new to do in the world ! 

Frank asked his father about some tricky dramatic 
points in one or two scenarios; he helped him through the 
ruts — and all of a sudden the young fellow found that 




father was 
hiding out on 
him, writing a film 
play of his own! 
That was the day of the 
short subject, and the elder 
Dazey's first few essays, anony- 
mously put out, were two- 
reelers. 

Then came a five-reeler that 
bore his name. His colleagues 
of the stage thought he was 
broke, and lamented his reduc- 
tion to such a dreadful extrem- 
ity. But he went right on, the 
"movie" became the photoplay 
in just a little while, and then — ■ 
For two years Charles T. 
Dazey, absolutely renewing his 
youth in the fervor of a new 
and fascinating creation, has 
written exclusively, continu- 
ously and successfully for the 
screen. 

You know his photoplays. 
Among them are that heroic 
Hart vehicle, "Wolf Lowry;" "The Sea-Master;" "The 
Redemption of Dave Darcy;" "The Mysterious Client;" 
"Behind the Mask;" "The Midnight Trail;" "Peggy 
Leads the Way," and "New York Luck." 

"Manhattan Madness," which will be reissued as long 
as there is a demand for the great original successes of 
Douglas Fairbanks, was written by father and son, to- 
gether. 

81 



82 



Photoplay Magazine 



Nearly half a dozen of his latest writings, made by 
various concerns, have not yet been released. 

It was no easy thing for the conservative, dyed-in-the- 
wool veteran of the theatre to turn to the new medium. 

Charles T. Dazey wrote his first stage success, a play 
called "Rustication," more than thirty years ago, while he 
himself was a Harvard student. 

After his graduation, with a degree, he wrote a play 
called "An American King," successfully produced by 
James O'Neill at the old Hooley's theatre, in Chicago. 

Katie Putnam was a popular star in 1890-91, and 
Charles T. Dazey a rising young dramatist. She went to 
him for a play, and he wrote "In Old Kentucky," with 
what he considered the stellar role of Madge. The manu- 
script was promptly sent back, with the notation that it 
was a star play, all right — for a horse. Then began the 
time-honored premier hard luck of every drama of destiny 
— nobody wanted it. Finally one Jacob Litt, whose am- 
bitions were his largest asset at that time, took a chance. 
It made Litt a millionaire, its author independent for life, 
fortunes for many others, and in ensuing years premier 
reputations for over twenty young women — among them 
a hopeful little ingenue named Bessie Barriscale. "In Old 
Kentucky" ended its twenty-fifth consecutive season last 
June. It played forty uninterrupted weeks last year. 

Mr. Dazey had other successful stage pieces, but space 



is short, and mention will be made of but one which is 
more recently familiar: "The Sign of the Rose," in 
which he collaborated with George Beban. 

Mr. Dazey speaks very seriously of what he considers 
the great evil of the motion picture industry today: the 
willingness of managers to spend fortunes on salaries and 
productions, and their unwillingness to pay proportionate 
prices for the foundation underneath, the story. He says: 

"It simply does not pay to put one's best work into 
photoplays under present conditions. Any good five reel 
screen play contains the stuff for a stage play or a novel. 
It is far better to write it in either of these forms, and 
then, even if a failure on Broadway, picture companies 
will bid ten times what they would have been willing to 
pay for an original synopsis, constructed and especially 
adapted for the screen. At least two of my screen plays I 
am credibly informed have made for the companies pro- 
ducing them over a quarter of a million each. Whenever 
a play attains such success as this a fair percentage can 
and should be paid instead of the few hundred dollars 
usually given reluctantly and grudgingly. 

"One after the other, well known writers like Channing 
Pollock and others have been driven from the field, or 
have determined, as in my own case, to write only big 
special features or serials for which a fair percentage of 
gross receipts can be secured." 




Stars of the Screen 

and 
Their Stars in the Sky 

By Ellen Woods 



Nativity of Maurice 

Tourneur, Born February 

2nd, in France 

MR. TOURNEUR has 
the Zodiacal sign 
Scorpio on the Eastern 
horizon at birth, with the 
Lord (Mars) in his ex- 
altation in Aries, which 
all indicates that he is 
and always will be mas- 
ter of the situation, 
either by might or mind. 
He is capable in many directions of effort: the mind is pene- 
trating, sharp, and clear; the imagination prolific. He is a 
philosopher, and is fond of mental battles, in which he is gen- 
erally victorious. Mr. Tourneur has excellent executive ability; 
he can govern and lead well. There is a great taste for the 
military; and if he could stay in one place long enough, he 
would make a good politician, as he is a "good mixer." I 
would astrologically advise Mr. Tourneur to look upon the 
bright side of life. Too much solitude is not good for him, as 
his mind has a tendency to revert to the past. He must not 
gamble, take chances in any way, own real estate, nor preach, 
teach or argue on science, religion, or wife's relations. He should 
never go into business for .himself, but should not be in a sub- 
ordinate position. He should direct others and be in command. 
Money has come slow to this native, but by his own making, 
and he must not expect any legacy on this earth. While Mr. 
Tourneur is quick tempered, he is also tender hearted and 
generous. 




Nativity of Miss Pauline 

Frederick, Born August 

1 2th 

IF the hour 3 :^o p. m. as 
given to me is correct, 
I would say that Miss 
Frederick's health has 
not been of the best, 
since birth. Her consti- 
tution is very weak, 
partially due to too 
much study. Her brain 
is active all the time 
— if she is not studying while awake, she is dreaming while 
asleep. In short she is a bunch of intellectuality. To quote a 
French astrologer of the Fifteenth Century, one Nostradamus, 
"She is Christian, philosopher, poet, physician, all in one." 
Miss Frederick was born with the Sun and Venus in the Royal 
sign Leo, with the sign Sagittarius rising at birth, indicating 
that she came from a long line of kings, her mother being a 
queen, her father not of the royal line, but a man of letters 
(this all means in past incarnation). She should never marry 
nor go into partnership with any one, for there are likely to be 
separations, which will be unpleasant. She should guard her 
health, especially her lungs and throat. She should not attempt 
to keep house, but should live in hotels. Miss Frederick should 
let her inspirations have full play. In 1018 and iqiq she will, 
if birth time is given correctly, take many long journeys by 
land, one of which in the employ of the government on secret 
matters. Miss Frederick will also have much money and prop- 
erty left to her. 




Virginia Norden, about as busy as a 
McAdoo. She was, and is, holding down 
the job of chairman of the "Patriotic 
Gardeners." 

Started originally to encourage, nay, 
to insist upon, the raising of potatoes 
and things, this particular organization 
has expanded its field of operations until 
now it "mothers" all of the selective 
service boys in the Bayshore district — 
and tills their souls while it provides 
them comforts. 

Well, it didn't take Anita long to join 
in this work, and she has been doing her 
bit ever since. It's the finest experience 
of her life, she says. 

"Our boys are the happiest lot in 
khaki," she declared, "because they 
know that everything is all right at 
home. Whenever a boy is drafted and 
gets notice to be ready to start for 
Camp Upton or some other training 
place, we know of the notice as soon as 
he does — and we immediately adopt him, 
as it were. We first see that he is prop- 
erly outfitted with all clothing and 
comforts that he can take to camp. We 
help him to get his affairs straightened 
out, and, if he has relatives who may 
need aid. we see that this worry is re- 
moved from his mind. Then, when the 
time comes for him to go, we give him 



Anita's War 



Gard 



en 



7S(ot for the lowly potato or string" 
bean does she labor, but for a 
bumper crop of fearless soldiers. 

By Frances Denton 

GARDENING in the souls of soldiers, to reap a crop 
of strong patriotic purpose, is the chief occupation 
of a band of devoted American women and girls 
these days — and one of the most active of these 
workers is Anita Stewart, dainty screen star. 

Anita is heart and soul, and hands and feet — and purse 
— in this labor and has been for more than a year. You 
will understand why when I tell you what she is doing — 
as I shall presently. 

About a year ago, when Miss Stewart was resting and 
regaining the strength an attack of typhoid had stolen 
from her, she spent a great deal of time — and money — 
travelling, but ultimately returned to her home at Bay- 
shore, Long Island, where she found her closest friend, 



Miss Stewart's place on Long Island, where she 
started plans for her "War Garden," while recov- 
ering from a long illness. 

a happy farewell — and he is off to camp, light-hearted and 
ready for what may come." 

Now begins the soul gardening. The seed of content- 
ment has been planted in the soldier-to-be, and Miss 
Stewart and the other "Patriotic Gardeners" nurture it 
by keeping up a steady correspondence with the boy. They 
not only inspire him to big deeds and a realization of the 
gigantic task that is before him, but they keep in touch 
with the folks at home and from these go only letters of 
cheer. So that "the boy" has no worry and nothing to 
distract his attention from the big job, and in a few 

83 



8 4 



Photoplay Magazine 



months, when he has sailed away and gone over the top, 
rifle in hand and naught but fearlessness in his heart — 
another crop has ripened for the "patriotic gardeners." 

Such is the work that Anita and the other young women 
are doing. And you may realize that this girl has little 
time for play. She is steadily engaged at the Vitagraph 
studio in Brooklyn by day, working on big productions 
like "The 'Mind-The-Paint' Girl," plays in which you will 



see her this fall, but her evenings are devoted to gardening 
in the souls of soldiers. Once in awhile she manages to 
slip away for a Sunday swim, but not often. And it's 
pretty tough, because Anita has several very fetching bath- 
ing costumes and she looks great in them, too. Besides, 
she's an A i swimmer. But war is war, and while there's 
patriotic gardening to be done, even Anita's fetching 
beach toggery must remain just toggery. 



He Refused Five Thousand A Day 



DAVID WARFIELD has 
just refused the great- 
est salary ever offered 
to any human being, 
under any circumstances. 

He was offered, to appear in 
motion pictures, a salary of 
$5000 per day, with an additional 
bonus of $100,000 just as a 
matter of good will! This 
offer was fully secured 
by collateral. 

In turning down 
this stupendous sal- 
ary proposition Mr. 
Warfield said that 
by no means did he 
wish his rejection 
to be taken as an 
embodiment of his 
attitude toward 
the screen. H e 
says that one day 
he will probably 
make a picture for 
far, far less. In 
fact, when he does 
come to the point 
of picture-making, 
money will cut 
very little figure, 
for Warfield is al- 




ready more than a millionaire, leads a very quiet life, and 
is past middle age. This man, by many a critic considered 

America's greatest living 
■ actor, regards the photoplay 
as the eventual and final 
embodiment of his acting 
art — a material in which 
he can pass along the ex- 
ternals of his accomplish- 
ments, at least, to another 
generation. He says, 
and evinces therein a 
shrewd knowledge 
of the universality 
and power of the 
motion picture, that 
his screen appear- 
ance would probably 
set a definite end to 
his widespread and un- 
varying success in the 
particular pieces in which he ap- 
pears. "The Music Master," for 
instance, has never been anything 
but Warfield 's personal vehicle; no 
one has ever seen it who has not sat be- 
fore Mr. Warfield in person. "The Music 
Master" on the screen will come to us one day, with- 
out any doubt at all — but Warfield in the- flesh, at a 
number of dollars a seat, would be a very diminished 
value if Warfield in the same play on the screen had 
covered the whole country at regulation motion picture 
prices. It is not from a financial point of view that 
Mr. Warfield speaks — those who know the man 
know that: he is still holding back, for a finer and 
finer polishing each year by his own talents, a great 
vehicle which is his exclusive property — his and his 
manager's, David Belasco. 

The five-thousand-a-day salary of course would not 
run for an indefinite term. It would cover only the 
proper making of "The Music Master" and certain other 
Warfield successes. If accepted, it would have been a 
highly profitable proposition for its makers, for a 
"Music Master" negative would be worth many hun- 
dreds of thousands of dollars. 

A little over a quarter of a century ago David War- 
field was a poor Jewish boy in San Francisco. He 
came to New York — still poor. His triumphs did not 
come to him until he became comedian with Weber 
and Fields. David Belasco saw him, and his only 
comment was: "I have never heard such a note of 
pathos as lies in that man's voice." "The Auctioneer" 
was the first real play as a result of this. "The 
Music Master" followed it. 



Sarony 



Has Mary Pickford Retired? 



MARY PICKFORD is in a quandary. To her thou- 
sands of friends in the audience all over the world,. 
who are eager for news about her and her future plans, 
she can only say, "You know as much about it as I do!" 
For the little queen of the movies, whose throne for almost 
ten years has never even tottered, doesn't know what she 
is going to do next. Mary hasn't worked for over two 
months now; she is resting at Santa Monica, Cal., trying 
to make up her mind to do any one of a number of things. 
The most important consideration is, perhaps, the offer 
made her by the First National Exhibitors' League. If she 
signs their contract, she will make eight pictures a year 
and receive a quarter of a million dollars for each picture. 
These pictures would not cost her more than $50,000 a 



piece, so she would have a profit of $200,000 on each one. 
But nothing definite has been done. She has shown no in- 
clination to renew her contract with Adolph Zukor, which 
expired upon the completion of her Artcraft picture, "The 
Mobilization of Johanna;" or to sign any of the numerous 
contracts offered her by other big concerns. Miss Pick- 
ford fully realizes the difficulties of obtaining suitable 
screen material — good stories, competent direction; and 
she knows what a few poor pictures might mean to the 
enviable artistic reputation she has builded in her years 
of screen endeavor. Then too, Mary has thought of going 
to France for war relief work. And she has even con- 
sidered permanent retirement. We cannot comment, for 
we know as much about it as Mary does today. 



Bushman- Bayne 




THE electric sign over the Boston Theater, Chicago, bore the following legend a 
few weeks ago: 

F. X. BUSHMAN 

AND WIFE 

IN "A PAIR OF CUPIDS" 

In this way a clever theater manager made capital of the news in the papers that day. 
For Mr. Bushman and Beverly Bayne were married in New York a few days after 
the courts handed the former Mrs. Bushman her divorce and alimony in another 
state. 

They spent their honeymoon at Bushmanor, Riderwood, Md. The ceremony was 
said to have taken place in New York. Bushman and Bayne have been screen sweet- 
hearts for years, dating back to their engagement with Essanay in Chicago. "When 
Mr. Bushman signed with Metro, Miss Bayne had a contract also, as his leading 
woman, which role she has played through a long series of screen successes, including 
"Romeo and Juliet." Miss Bayne is ten years Mr. Bushman's junior. 

Mrs. Bushman, by the court order, was given custody of the five children, and 
liberal alimony. 



85 



Meet Nenette and 
Rintintin 

/^VER in Paris it is believed that they will 
^^ bring protection to anyone who wears 
them — Nenette and Rintintin, the quaint little 
twin amulet. They are exercising a really re- 
markable influence over the imaginations of the 
French people just now, and indeed one story 
goes that two soldiers alone escaped from a 
terrible encounter with the enemy because they 
were protected by their amulets. A poilu — 
one who had lived in the United States — sent 
"Nenette and Rintintin" to Corinne Griffith, 
the Vitagraph star. Hers is one of the few in 
this country. Will the fair Corinne inaugurate 
its use over here? Are the Americans as ima- 
ginative as the French? At any rate, in Paris 
they solemnly believe that the amulet is a 
charm to protect its wearer. 

The Earnestness Of 
Being Funny 



IT'S all very 
1 well to talk 
about an actor's 
merry life, but 
it's not a laugh- 
ing matter be- 
hind the screen 
— when the 
funny movie is 
in the process 
of manufacture. 
Even Teddy, 
lugubriously 
present i n t h e 
foreground, i s 
apprehensive. 
From L. to R.: 
Earle C. Ken- 
ton, Lloyd 
Campbell (as- 
sistant), Hamp- 
ton Del Ruth, 
Walter Wright 
(standing), di- 
rector; Judge 





Boyer, John Grey, assistant editor; Wayland Trask, Mary 
Thurman, Ben Turpin (standing), Charles Murray, Laura 
LaVarnie, Harry Booker, and Teddy. 

Dorothy Is Decorated 
For Kindness 

■"FHE Ince star has adopted a regiment — the boys of 
■*• Co. D, 115th Engineers, are Miss Dalton's godsons. 
This medal was presented to her in recognition of her 
thoughtful donations of smokes, candy, and recreation for 
the boys. Panel at far left shows the front of the medal; 
the "D" stands for Dorothy, Dalton and Co. D. 



86 




Facing His Own "Guns" 

L_I [S name is always on the screen, but this is the first 
* *■ time he has ever been filmed. In "We Can't Have 
Everything," Cecil DeMille's picture, Alvin Wyckoff, the 
best known cameraman in Zukor-Lasky employ, "pre- 
tended" to be a cameraman, acting with Tully Marshall, 
et al. He is the round-faced man with the reversed cap. 



An Aerial Dog-o'-War 

DILL is the first and only dog in the world to have 
•*-' seen air service. For three years Bill has been 
soaring above the lines in a 'plane which has clashed 
with the enemy in many battle flights. Bill belongs 
to Capt. Jacques Boyriven, a distinguished French 
aviator who has been detailed by the French govern- 
ment to the United States as an instructor in the 
art of combat. Captain Boyriven has received every 
decoration that the French government can give, in- 
cluding the Legion of Honor. He is, in peace times, 
a French motion picture expert; he has been both 
manufacturer and director, and is a writer as well. 
He was closely associated with the French film busi- 
ness up to the outbreak of the war. He — and Bill — 
are stationed at Mineola, Long Island. 





Who Fought With 
Sherman 

pAPT. S. F. MOORE is 
80 years old. He 
served throughout the Civil 
War. Lives in Toledo, and 
collects players' photos. 
He writes: 

"I have sent cards of 
appreciation to many ac- 
tresses of the screen, and 
the most noted of them are 
those who have shown their 
appreciation. This amiabil- 
ity is one cause of their 
popularity." 

87 




^P/ays and Jp/ayers 



4^ " 




Real news and interesting comment about 
motion pictures and motion picture people. 

<S 7 CAL YORK 



FRANCES MARION, Mary Pickford's 
favorite scenarioist, the writer and 
adapter of many successful photoplays 
for Mary and other Paramount-Artcraft 
stars, and formerly a newspaper woman 
and magazine illustrator, has secured a 
six months' leave of absence from the 
Lasky company, with whom she had just 
signed a new contract calling for $50,000 
a year, and is now on her way to France. 
Miss Marion made all her arrangements 
quietly, attempting to keep her plans 
secret, and refusing to divulge what par- 
ticular work she is going to do over there. 
To her friends she only vouchsafed the 
following information, "I can't sit and 
write stories, over here, when there's so 
much to be done over there." 

HENRY B. WALTHALL is working 
under the personal supervision of 
Thomas H. Ince in the leading role of 
"'False Faces," from the novel by Louis 
Joseph Vance. The story depicts another 
episode in the life of "The Lone Wolf." 
which character Bert Lytell created on 
the screen in Herbert Brenon's picture of 
the same name. 

JUST about "press time," came the 
announcement of Marguerite Clark's 
engagement. This is reaK honest-to-good- 
ness news, for Miss Cora Clark, Mar- 
guerite's sister, has made formal an- 
nouncement of the fact from the Clark 
home in New York. The screen star will 
marry First Lieutenant H. Palmerson 
Williams, U. S. A., son of a wealthy New 
Orleans lumber merchant, whom she met 
while in the Southern city in the interest 
of the third Liberty Loan drive. Lieuten- 
ant Williams was much interested and 
helped Miss Clark in her work for the 
government. Later he was transferred 
to Washington, and again met Marguerite, 
who spent her vacation there. No ar- 
rangements have yet been made for the 



You will note 
that Miss Clark 
occupies Mar- 
shall Neilan's di- 
rectorial chair by 
mistake, and 
vice versa. We 
imagine "Micky" 
is congratulating 
Miss Clark on 
her being en- 
gaged to a real 
soldier. 



wedding, owing to the uncertainty of 
Lieut. Williams' assignment. But Miss 
Clark has declared that she will not retire 
from the screen, believing that all women 
should work in war-time. 

GUSTAVE VON SEYFFERTITZ, of 
Lasky, has adopted a new name for 
professional purposes. He will hereafter 
be known as G. Butler Clonebaugh, a 
name to which he has a perfect title, as 
it was his mother's maiden name. 

WHILE Dorothy Gish was in New 
York, she discovered a long-lost 
relative as the result of her appearance at 
the theatre where "Hearts of the World" 
was being shown. It seems that a manly 
young sailor, one of the Rhode Island's 
crew, heard that Dorothy Gish was to 
appear in person at the matinee perform- 
ance, and introducing himself to the box- 



office . as Victor Gish, said he thought 
Dorothy was his cousin and wanted to 
meet her. After Miss Gish had made her 
little speech, the young sailor was brought 
forward, and Mrs. Gish recognized him 
immediately as her nephew, Dorothy's 
first cousin. Dorothy had to take her 
mother's word for it, because it was 
twelve years since the two last met. 

HERBERT Rawlinson has gone to the 
Blackton company, and is now en- 
gaged in enacting a leading role in J. 
Stuart's new war film, entitled "The 
Common Cause," which was "Getting 
Together" on the stage. The picture is 
being produced under the auspices of the 
British-Canadian Recruiting Mission. 

VITAGRAPH has relinquished the 
services of Anita Stewart to Louis B. 
Mayer, the Boston distributor. Under the 
contract Mayer had with Vitagraph after 
that company won their case in court over 
the actress' services, Mayer was to have 
Miss Stewart on September 3rd, but ow- 
ing to the time lost through an automobile 
accident in which Miss Stewart figured, it 
was determined by Vitagraph that the 
period of her services left to them was too 
limited to carry out their plans. What 
disposition is to be made of the last pic- 
ture Miss Stewart made for Vitagraph is 
not settled at this writing. 




Donald Crisp, the Lasky director, is a lucky fisherman. It took him just twenty minutes 
recently to catch enough fish to become a member of the Light Tackle Club of Catalma, a 
distinction that other fishermen have struggled years to gain. Crisp, accompanied by Mrs. 
Crisp, spent two days fishing and landed 825 pounds offish. He turned over 300 pounds 
to the Children's Hospital of Los Angeles and the rest he distributed among Hollywood 
friends. In this photograph he is shown with part— only part, mind you— of the record catch. 



Plays and Players 



89 




Photographing Norma Talmadge on the highest spot in New York — the Billings estate at 
194th street and Wadsworth avenue, overlooking the Hudson. Sidney Franklin, Norma's 
director, unlike most directors is trying to hide from the still camera. The gentleman whose 
Mephistolean countenance is barely visible is Alfred Moses and his skeptical contemporary 
to the left is Edward Wynard — both cameramen. And here too is Eugene O'Brien, who is 
said to have made up his mind to desert to the noisy stage next season. 



A $300,000 studio is being erected by 
Thomas Ince at Culver City, where 
all his companies will work in the future. 
The site comprises eleven acres, and plans 
call for the erection of some eighteen 
buildings. 

MILTON SILLS has been signed by 
Goldwyn to play opposite Geraldine 
Farrar in her second picture for that 
company. Sills was recently seen with 
Clara Kimball Young in several features. 

T^NRICO CARUSO has signed a con- 
*— ' tract with Famous Players-Lasky to 
appear in a series of Artcraft pictures. 
The famous tenor has been approached 
many times by producers for his services, 
but always he has declined. This time, 
however, the temptation was too great, 
and Caruso capitulated. We don't know 
just how much he's going to get, but it's 
enough to bother him and to gladden the 
hearts of the income tax collectors. 

ALMA RUBENS is another blushing 
bride announced this month, and 
Franklyn Farnum the latest benedict. 
They're married — to each other. Alma is 
with Triangle; Franklyn is acting for 
Metro. 



MOTION picture actors and "other 
skilled persons necessary to the pro- 
duction of motion pictures" are not to be 
affected by the "work or fight" law. Gen- 
eral Crowder has so officially ruled, and 
by his action has given added force to the 



screen's contention that it is an essential 
industry. The Crowder ruling places film 
actors on the same governmental plane 
with actors of the speaking stage. 

HELEN JEROME EDDY, who ap- 
peared in a picture or two for Uni- 
versal, has left to enter the entertainment 
forces of Uncle Sam. In other words, 
Helpful Helen is obliging in a big way. 

BARNEY SHERRY, of Triangle, has 
adopted a Belgian war baby whom he 
has christened Barney Sherry, Jr. 

METRO has added two more stars to 
its aggregation. Olive Tell, who was 
featured in the Screen Classics produc- 
tion, "To Hell with the Kaiser," Hale 
Hamilton, from the "legit," who first 
scored on the screen as May Allison's 
leading man in "The Winning of Beat- 
rice," and Viola Dana's in "Opportunity." 
Miss Tell and Mr. Hamilton will head 
their own individual companies, and have, 
in fact, started work on their new produc- 
tions. Two new leading men recently 
signed by the same organization are King 
Baggot, recently in "The Eagle's Eye," 
and Creighton Hale, who is to play op- 
posite Emmy Wehlen. 

HOUSE PETERS does not appear in 
support of Blanche Sweet, as was re- 
ported some time ago. Instead he is 
engaged in filling a contract with a San 
Antonio, Texas, company. 

NORMAN KERRY has transferred 
his wardrobe, lance-like mustache, 
and w. k. pep to the Triangle studios at 
Culver City, where he will play opposite 
Olive Thomas, in one of her forthcoming 
features. Kerry's appearances on the 
screen have been with so many stars, in- 
cluding Mary Pickford, Constance Tal- 
madge, and Dorothy Phillips, it is hard to 
keep track of his activities. 

AT last Violet Mersereau and the Uni- 
versal Company have reached an 
understanding. Miss Mersereau's con- 
tract calls for her appearance in pictures 
for Universal in the east. Sometime ago 
they ordered her West. She declined to 
go, whereupon they ceased utilizing her 




This is Baby Gloria Osborne, a future little "Mary Sunshine" of the films, receiving her first direction 
from William Bertram. Gloria is proud of her not-much-bigger sister, who is a star, you know. 



90 

services, though continuing to pay her 
her salary. They have now sent for her 
to resume work in the East. 

ANTONIO MORENO, after some time 
spent in the east with Pathe, has 
gone back West with the Vitagraph, the 
company which first starred him. Tony 
is playing in a Vitagraph serial with Carol 
Halloway. 

MAURICE TOURNEUR had planned 
to make John Van den Brock a 
director next fall as a reward for his 
excellent work during the four years he 
was employed making Tourneur pictures. 
But Van den Brock was drowned near 
Bar Harbor while the company was on 
location for scenes in "The Woman." He 
was standing on a rocky ledge trying to 
get a particularly effective bit of scenery, 
and lost his life when a big wave swept 
him off his feet. Van den Brock was the 
man responsible for the photography in 
such productions as "The Blue Bird," 
"Prunella," and he had "shot," during his 
career behind the camera, such stars as 
Mary Pickford, Elsie Ferguson, and Clara 
Kimball Young. 

DOROTHY GREEN comes back to 
the screen with Montagu Love in 
"Pirate's Gold," for World. Miss Green 
is a well known film vamp, having acted 
in that capacity for Fox in the Castle 
serial "Patria." 

HP HE soldier-author, "Private Peat," is 
■*• making a filmization of his book for 
Paramount. 

BAD news for Eugene O'Brien's 
fanettes. Eugene is going back to the 
stage next season. Although it was re- 
ported that he was to have his own film 
company, it seems that Charles Dilling- 



Photoplay Magazine 




Lieutenant H. Palmerson Williams, who is to wed 
Marguerite Clark. The formal announcement of 
the engagement was made by Miss Cora Clark 
when Marguerite returned from Washington, 
where she spent her vacation from film work, and 
where her fiance has been stationed in the En- 
gineers' division of the army. 




* ,-,a' t:-. MB • . 



Poor little Mary has a terrible time in "The Mobilization of Johanna," her last picture under 

her Artcraft contract. This seems to be part of the mobilization, but then we didn't read 

the Rupert Hughes story from which the picture was adapted, so we don't know. 



ham has persuaded him to accept a lead- 
ing part in a comedy-drama for a 
Broadway theatre. At present O'Brien is 
working in Norma Talmadge's new pic- 
ture. 

FRANK REICHER, long a director for 
Lasky, has left that organization to 
handle the megaphone at the World 
studios in Fort Lee. His first assignment 
was "The Sea Waif," starring Louise Huff. 

FLORENCE TURNER is now playing 
opposite Mitchell Lewis in a mining- 
camp drama produced by a Spokane pro- 
ducing company. Miss Turner's picture 
work for some time was done in England, 
but difficulties in obtaining a passport 
made it impossible for her to return. 

f IT is rumored that Earle Williams may 
1 be engaged as leading man for David 
Griffith in Artcraft pictures. But maybe 
it's only a rumor. 

THOSE film followers who thought 
Harrison Ford was unmarried will be 
surprised to learn that his wife is suing 
him for divorce. 

DAUL POWELL, one of those directors 
*■ who assisted David Griffith, has been 
engaged by Bluebird. Powell did "The 
Matrimaniac," a Fairbanks Fine Arts, 
"The Wild Girl of the Sierras." with Mae 
Marsh, and "Hell-to-Pay-Austin." under 
Griffith's supervision. 

pREIGHTON HALE decided that be- 
^ ing an actor wasn't enough, so he 
has entered into the busy marts of the 
trade, so to say. He conducts a tiny shop 
in New York where antique china and 
pottery are offered for sale. Chinese glaze 
is Creighton's hobby and in his home are 
more than ten examples of the finest 
pottery. In the course of his collection, 
which represents a period of ten years, 
he has accumulated duDlicates of the less 
important varieties and was at a loss to 
know how to dispose of them until he got 



the idea of opening a little shop. "To 
tell you the truth," he said the other day, 
"I'm afraid my shop is going in a hole. 
You see I employ two young ladies to 
run it for me and they make a sale about 
once a month. The other day they sold a 
small jar for which I paid $200 at an 
auction. They let it go for $65." 




This is Mildred Manning, who doesn't re- 
quire additional identification as the O. 
Henry Girl. Mildred has been taking a 
long vacation from her screen work. 

COLIN CAMPBELL, who directed all 
Selig's important pictures including 
"The Spoilers" and "The Crisis," has been 
loaned to Jewel to direct "The Yellow 
Dog." adapted from Henry Irving 
Dodge's Saturday Evening Post story. 
Dodge is the author of the Skinner 
stories. 

HAROLD LLOYD has adopted two 
hundred children, inmates of a Los 
Angeles orphanage. He takes them to 
the theatre every fortnight — and not 
always to see his own comedies, either. 
Then he winds up with a treat at an ice- 
cream parlor. Ask those kids who's their 
fav-or-ite fillum star. 



Plays and Players 




John Emerson is pretty tall, but his height is emphasized when compared with the tiny stature 
of his little co-workers — Anica Loos, correctly titled "the soubrette of satire," and Shirley 
Mason, and Ernest Truex, co-stars in the lohn Emerson-Anita Loos Productions for Paramount. 



GAIL KANE is to have her own com- 
pany and is at work on a series 
of feature productions, to be released 
through Mutual. 

JUNE CAPRICE has left Fox. Miss 
J Caprice, you may remember, was an 
illustration of William Fox's theory that 
he could take any pretty and intelligent 
young girl and make of her a film star. 

MOTION picture exhibitors throughout 
the country were relieved to learn 
that an official ruling has just been ob- 
tained for them from the National War 
Savings Committee, that anyone who ad- 
vises school children, their parents, 
guardians, or teachers, to stay away from 
motion picture theatres during the war 
is acting in defiance of the wishes of the 
National Committee. Recently, in Cali- 
fornia and other western states, several 
public school instructors told their pupils 
jthat. were they really patriotic, they 
would refrain from attending photoplays 
and devote the money thus saved to the 
purchase of thrift stamps. Joseph W. 
Engel, treasurer of the Metro company, 
was instrumental in bringing about the 
ruling that relieved the situation. 

SOUTHERN California citizens and 
tourists passing the Douglas Fair- 
banks studio have often commented on 
the lineup of luxurious motors. But 
times have changed. "We ought not to 
be riding around in Rolls-Royces and 
Pierce Arrows these days," said Doug. 
"Let's sell the big cars and get flivvers. 
We'll put the balance in War Savings 
Stamps." And he started it by driving to 



work in a Ford coupe. Of course the 
rest of the company followed suit, and 
now it's flivver row for sure — but the 
number of Thrift Stamps the owners have 
cornered is said to be inspiring. 

BULL MONTANA has been rejected 
from army service because of de- 
fective hearing. 

HERBERT STANDING has received 
word that his son, Guy Standing, has 
been decorated by King George and made 
Commander in the Royal Navy, having 
covered himself with glory as one of the 
heroes in blockading the U-boat base at 
Zeebrugge. 



91 

FLORENCE VIDOR is Bryant Wash- 
burn's new leading woman. Wash- 
burn, by the way, is to appear in a film 
version of "The Gypsy Trail." 

MAE MARSH is one of Geraldine 
Farrar's most sincere admirers, ac- 
cording to a Goldwyn publicity writer. 
Every moment she can be spared from 
her own scene, Mae follows the work of 
the silent song-star with intense interest, 
thereby breaking a rule. Jerry insists that 
her acting be done away from the curious 
eyes of bystanders, but in the case of 
Goldwyn's whim girl she graciously makes 
an exception. 

ABSOLUTE divorce and $40,000 ali- 
mony has been granted to Mrs. 
Josephine F. Bushman from Francis X. 
Bushman on the grounds of cruelty and 
neglect. By the terms of the decree Bush- 
man is required to pay his wife $10,000 
of the sum immediately, $10,000 in eight 
months, $10,000 in fourteen months, and 
the balance in twelve months. After these 
payments are completed Mrs. Bushman 
shall have no further right interest, or title 
in any property that Bushman may own 
now or hereafter. The custody of their 
five children is given to Mrs. Bushman, 
but Bushman shall be entitled to their 
care and custody for not more than six 
weeks between June 15 and Sept. 15 of 
each year. Mr. Bushman further agrees 
to furnish for housekeeping purposes not 
more than eight rooms of a house to be 
selected and rented by Mrs. Bushman as 
a home for herself and children, and to 
pay the rent of the house during the life 
of Mrs. Bushman. 

COL. THEODORE ROOSEVELT is to 
appear in a series of films, possibly 
in an autobiographical presentation, and 
has given the film rights to all of his 
writings to Frederick L. Collins, president 
of McClure publications. Some of the 
Colonel's more recent patriotic works, 
such as "Fear God and Take Your Own 
Part," "Put the Flag on the Firing-Line," 
and "The Hun Within Our Gates," will 
probably be among the first pictures to 
be produced. Colonel Roosevelt will 
donate all his royalties to the Red Cross. 
(Concluded on page 108) 




How they showed the Ford going at full speed in the great ride from "How Could You, Jean?" 

Mary is at the throttle of the tin steed with Herbert Standing beside her. The director and 

the camera chap ride right along. 




Sons of the 




Tom Forman of Lasky enlisted as a private 

a year ago; was made a corporal, then a 

sergeant, and finally won his lieutenancy. 



More than ten per cent of the Motion 
States has gone to war for Liberty 

By Julian 



WHEN the Great Book of Democracy's war comes to be written, its 
theme will be the union of every trade and craft and pro- 
fession; the side-by-side sacrifices of all classes of citizens; the 
creation, not of a freedom from military caste, but an army of 
the ranks of every peaceful pursuit. 

The Photoplay is walking side by side with the leaders of that army. 
Everybody knows that it has poured forth its silent voice and given its 
money without stint — but what of its flesh-and-blood sacrifices — its 
actual gift of life to the purpose of liberty? On the contents-page of last 
month's issue we asked, -very frankly: "Is there a dishonor roll in the 
motion picture industry?" We spoke frankly because in times like these 
it behooves every householder to see to the cleanliness of his own threshold. 
If there was a dishonor roll, if the people of the new art were shirking, we 
wanted to know it. We set about finding out. And first we found out — 
That a curious diffidence hazes the profession where actual response to 
the call of the colors has been made. In a craft where even a divorce is con- 
sidered a fit matter of press-agentry the heroic thing, the big sacrifice, has 
been assumed in quiet determination, and in almost utter lack of heraldry. 






Lieutenant Tom Powers, Royal Flying Corps, 

now flying in France. His last picture was 

"The Auction Block." (Goldwyn) 



Cadet Luther A. Reed, Metro scenarioist, 

in training at Uncle Sam's camp for officers 

in Camp Lee, Va. 



Eugene James Zukor, son of Adolph Zukor, 
is now in the Navy, ordnance section. 






The late S. Rankin Drew, son of Sidney Drew, 

and scion of a great line, passed in flames, 

battling seven German airmen. 

92 



Hartsook 

Jack Pickford enlisted in the Navy. Now 
assigned to censoring films for the Govern- 
ment. 



Lieut. Frank M. Dazey, scenario writer and 

son of Charles T. Dazey, is in France with the 

Field Artillery, A. E. F. 



Sun in Arms! 



Picture man power in the United 
— and the percentage is climbing 

Johnson 



For the most part, the moving picture men who have gone to the camps or the 
navy-yards or France have just dropped out of sight. Brief items have in some 
instance heralded their departures; more often nothing has been said. 

For once, even the most eager for advertising have appreciated what is not. £ 
as well as what is, the true sphere of press-agentry. The motion-picture actor 
has proved that he knows, as well as the lawyer, the engineer and the architect, 
that this war is too big for brag. 

And so he has gone in, silently, valiantly, determinedly; struggling up to 
ofncership where he could; cheerfully buck-privating it where he could not; 
specializing in war's sciences wherever his motion picture science enabled 
him to do so. 

One of the next things that we discovered is that it is not possible to make 
any correct or categorical list of sons of the sun in arms, any more than it is 
possible to issue a perfect military blue book of sons of the hardware business. 

These lines are written at the last possible moment before going to press with 
the October number of Photoplay Magazine; to be explicit, on the 29th day 
of July. 

Today from ten to twelve percent of the motion picture man power of the 






Stage 



Triangle's service flag has fifty-five stars — 

and one of them is for Lloyd Bacon, leading 

man, now in uniform. 



Kenneth Harlan, matinee hero for Mildred 

Harris, Mary MacLaren, and Carmel Myers, 

now training at Camp Kearney, Cal. 



Walter Long, Griffith's prize villain, has been 

for many months a lieutenant of artdlery 

at Fort McArthur, California. 






Melville Shaner, son of E. Shaner, assistant 

treasurer of Famous Players-Lasky, is now in 

France. 



Joseph Henaberry, director for Douglas 
Fairbanks. Henaberry is now at Fort Mc- 
Dowell in San Francisco. 



Campbell 

Comedian Harold Lloyd of Rolin - Pathe 

has paused in a rising career to enlist in 

the Navy. 

93 



94 



Photoplay Magazine 




country has answered the call of the 

colors. When these words reach the 

reader that percentage will, in 

all probability, have risen to an 

average fifteen at least. 

As we write, scores of young ac- 
tors are doubtless arranging to 
^ break the final bonds that hold 
them to civilian life. When 
this book comes upon the 
news-stands many of those 
whose names are not here 
will have gone. 

There are motion picture 
men in every military camp 



surprising, therefore, that the Zukor-Lasky service flag 
has more stars than any other — but it has a close com- 
petitor: Universal! 

Before me are 220 Zukor-Lasky names — and 190 from 
Universal. If that list were revised the day you read this, 
each concern might have in excess of 300. In fact, they 
expect to. 



William D. Taylor, Mary Pickford's 

director, gave up his $25,000 a year 

and sailed from New York to enlist 

in the British Army. 



Eugene Pallette is a Lieutenant in the 

U. S. Aviation Corps. Last picture 

— "Viviette" — -a Lasky. 

Sergeant William J. Moore, of the 
Famous Players company, has already 
won the Croix de Guerre for dis- 
tinguished service. 

and officers' training 
school in America today, 
and we venture to say that 
one or more motion pic- 
ture men is in every 
branch and department of 
the American Expedition- 
ary Force in France. Cer- 
tainly they are in cavalry, 
infantry, artillery and avia- 
tion; they almost dominate 
the photographic side of 
the Signal Corps; a number 
of them are in the medical 
and hospital service; a number are with those heroic bands, 
the overseas Knights of Columbus and Y. M. C. A., and 
some are in the transport service. 

To collect the full army and navy data from all parts 
of the motion picture industry would require months. To 
assort and tabulate it would require months more. Re- 
member, there are motion picture men in every town and 
city in the United States. What we set down here, there- 
fore, is neither a catalogue of patriotism nor a full memo- 
randum of service; it is a sheet of samples, a handful of 
type straws, a collection of incidents showing that the 
quality of patriotism is nowhere in the world finer, truer, 
more constant and less obtrusive than in the corps and 
divisions of the great art America proudly calls its own. 

In this resume we shall chiefly consider the production 
forces, for it is with the production forces that the readers 
of Photoplay are more particularly interested. Upon 
production and production office forces any figures are 
based. 

The Zukor-Lasky corporations are, in a manner of 
speech, a university of picture companies. It is not 




Let's see what those optic brethren, Artcraft, Para- 
mount and Select, are doing in the war. 

I notice that William J. Moore, of Famous Players, has 
already won the Croix de Guerre! And right after that, 
that W. St. Clair Anderson, an Englishman, also of 
Famous Players, enlisted with the Australians, turned to 
aviation, won the rank of Captain, became Flight Com- 
mander — and won the Croix de Guerre, Legion of Honor 




Lieut. Charles Wallack (Universal) 
is in the medical service, stationed at Lieut. Edward J. Langford, leading 
Washington, D. C. man for Ethel Clayton in World 

pictures, now in France. 



Lieut. Hector Turnbull, A. E. F., 

France; former scenario chief of 

Famous Players -Lasky, and author 

of "The Cheat." 




^* 'W 



Captain Adrian Gil-Speare, aviator; 
U. S. Signal Corps, Balloon Sec- 
tion, was formerly scenario chief 
of Goldwyn. 

and the Distinguished 
Service Order of Great 
Britain! 

Adolf Zukor's son, 
Eugene James Zukor, is in 
the ordnance section of the 
navy. Hector Turnbull, 
former Lasky scenario 
chief and author of "The 
Cheat," has been long an offi- 
cer of the Expeditionary 
Forces. Victor Fleming, for- 
merly Fairbanks' camera- 
man, is instructor in the 
army school of cinematog- 
raphy. Tate Cullen, assist- 
ant director of Lasky 's, is 
a camouflage a?r t i s t with 
Pershing's Engineers. Lucien 

(Continued on page 106) 



Educational Films 



A department of service in the appli- 
cation of the motion picture to one 
of its greatest fields of usefulness. 



"'Aladdin and the Wonderful Lamp'' 
has been put into pictures by Fox. 
Its vivid portrayals afford strong 
food for the juvenile imagination. 




A TOTAL of 124,372 patrons to their educational 
film exhibitions in a period of less than a year 
is an inaccurate record of the Iowa State College 
Visual Instruction department. It is inaccurate 
because several of the places of showing kept no record. 
An accurate account would doubtless bring the total at- 
tendance observation of the college reels at something like 
150,000 pair of eyes. 

Which just goes to show how the instructive film is 
being appreciated out in Iowa. There are other states 
equally as enthusiastic over the visual instruction — we 
will take them up later on. The case of Iowa State Col- 
lege is inspirational. Their library — scores of diversified 
ree l s — includes films of instruction on a variety of topics, 
although their specialization is agricultural for the reason 
that their rural circuits cover the state. 

Not only has the College secured the films, but the 
faculty works with the 
various community 
schools, churches, and 
Y. M. C. A. houses to 
help secure projection 
machines. In some 
cases a subscription 
buys the machine, in 
others special enter- 
tainment itself pays 
for it. 

Not only does the 
College circulate agri- 




cultural films throughout the rural districts, but, well — 
glance over their report for the period from Sept. 5, 191 7, 
to May 30 of this year. 

We have supplied : 

1. Canning and Drying Film to above twenty theaters during the 
fall of 191 7. Food Conservation. 

2. Motion picture exchanges with War Garden Propaganda Slides. 
These slides were distributed over the state through the exchanges. 

3. Motion picture programs to Camp Dodge Y. M. C. A. 

4. Sixty-eight schools with agriculture slide and chart circuit. 

5. Programs for several short courses over the state. 

6. In addition to the above the Visual Instruction Service has 
assisted the Home Economics, Dairy and Poultry departments, the 
Y. M. C. A., the Highway Commission and the Industrial Science 
Division at various times during the season just past, and are now 
supplying programs for the summer school Saturday evening enter- 
tainments. 

7. Thirty-five schools, Y. M. C. A., colleges, state institutions and 
community centers with 15 motion picture programs. 

Out of 934 exhibitions reported, a total of 94,372 patrons were 

present. 



"The Story ofTwo 
Pigs" is an inter- 
esting and valuable 
reel released by 
Atlas Educational, 
produced in con- 
junction with the 
PurdueUniversity. 
Such a fine type of 
picture as this is 
what makes the 
" visual libraries " 
so important to 
modern farming. 




Slides and Charts 

7 circuits, 613 re- 
ported 25,624 

Other dates, 90 re- 
ported 5,333 



Total 30,957 

Film 
i circuit, 215 re- 
ported 60,148 

Other dates, 16 re- 
ported 33,267 



Total 93,4iS 

Grand Total . . 124,372 



95 



96 



Photoplay Magazine 



Charles Roach, supervisor of the Visual 
Instruction Service, says: "Next year we 
shall have slides and film showing the manu- 
facture of varnish and shall take each step 
from the gathering of the gums to the final 
step of applying to the wood surface. We 
shall then send specimens of the raw materials, 
packed with the slides and film, thereby mak- 
ing the teaching value of the visual instruction 
as nearly perfect as is possible. We shall do 
the same thing for rubber. 

"We believe that such combination pro- 
grams will be extremely valuable to the 
teachers of commercial geography as well as 
those teaching sciences and the trades. 

"The home economic department of this 
college has planned to use film programs to take the place 
of some of the library work. This year the scheme was 
tried with very satisfactory results. Recently we closed a 
fifteen-program educational film service. 

"For general program service and especially for school 



Ask This Department 

i . For information concerning motion pictures 
for all places other than theatres. 

2. To find for you the films suited to the pur- 
poses and programs of anv institution or 
organization. 

3. Where and how to get them. 

4. For information regarding projectors and 
equipment for showing pictures. ( Send 
stamped envelope). 

5. How to secure a motion picture machine free 
for your school, church, or club. 

Address: Educational Department 
Photoplay Magazine, Chicago 




the teaching of baby care, is 
not confined to the Ohio city. 
From P2ngland comes the in- 
teresting announcement that 
the Ministry of Information 
is sending out a fleet of ten 
"automobile moving picture 
shows," designed to exhibit 
war pictures in villages and 
outlying districts. 

Audiences of as high as 
20,000 people can see the 
picture with ease, it is 
claimed, projected from the 
"cine-motor-car" and thrown 
onto a screen erected 100 
feet distant. The car-theatres are operated for the most 
part by soldiers invalided from the front and the selec- 
tions include the usual run of official pictures, one illustrat- 
ing Great Britain's progress in Zeppelin building, another 
showing British bomb-dropping squadrons in flight, 
another of tanks in action. America's war 
progress is not ignored either. 



"Every rural church should have a three-acre 
recreational ground for the children and the 
grownups, a gymnasium, and a movie outfit as 
part of its equipment to adequately perform its 
function as a rural community center," declared 
the Rev. Moses Breeze, of Columbus, Ohio, in 
a recent address in Indianapolis. Rev. Breeze, 
who is secretary of the Presbyterian Forward 
Movement in Ohio, declared his belief that 
recreational and educational forces were as im- 
portant a part of a 

In Coatesville, Pa. the Y. M .C. 
A. acts just like a " regular 
movie house." Notice the post- 



as 



ers out in front of their beauti- 
ful building. The Y. M .C. A. 
motion picture auditorium is 
located to the left of the en- 
trance and all manner of in- 
structive and wholesome enter- 
tainment films are shown there. 



church's mission 
the spiritual. 

* * * 

Two thousand mo- 
tion picture theatres 
in the country are to 
be placed on a circuit 
to exhibit a motion 
picture that will trace 
a complete story 
of the Californ- 
ia orange. 



use, one and two reel subjects 

are best. There are, however, a 

number of three, four and 

five reel subjects which 

can be routed on special 

circuits. In the state 

of Iowa a reasonable 

expectation of the 

number of dates 

which can be filled 

on each one of these 

feature industrials 

would be from fifteen 

to twenty-five each 

year. The film might 

be worn out in the 

course of a few years in 

legitimate service of this 

kind." 



News in Brief 
The idea of 
creating a port- 
able movie 
theatre, as Cleve- 
land is doing in 




Chicken raising 
as a business is 
creditably encour- 
aged by such films as 
this Atlas Educational. 
It takes the care of the feathered 
jewels from the egg to— well, mebbe 
to the fryin' pan, anyway to maturity 



Photoplay Magazine — Advertising Section 




97 

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When you write to advertisers please mention PHOTOPLAY MAGAZINE. 



9 8 



Photoplay Magazine — Advertising Section 



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Her friends like her cozy little chafing dish 
suppers and her Carnation Welsh Rarebit 



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QUESTIONS 



AND 



ANSWERS A 






VOU do not have to be a subscriber to Photoplay Magazine 
■*- to get questions answered in this Department. It is only 
required that vou avoid questions which would call tor unduly 
long answers, such as synopses of plays, or casts of more than 
one play. Do not ask questions touching religion, 
scenario writing or studio employment. Studio addresses 
will not be given in this Department, because a complete list 
of them is printed elsewhere in the magazine each month. 
"Write on only one side of the paper. Sign your full name 
and address; only initials will be published if requested. If 
vou desire a personal reply, enclose self-addressed, stamped 
envelope. Write to Questions and Answers, Photoplay 
Magazine, Chicago. 



"Brown Eyes," Tuscaloosa, Ala. — 
"Brown eyes — ah me, ah me!" We have 
hunted and hunted and fired our secretary 
and two office-boys, but still we cannot find 
any record of Ola Davis, who, you say, is 
to be the star of a new studio which the 
American Film Company is establishing at 
Brumpton, Ala. (Samuel Hutchinson, please 
note.) I think it was Coleridge who called 
the Earth "that green-tressed goddess." At 
any rate, it wasn't Robert W. Chambers. 
Send along your picture, Brown Eyes. Good 
luck to vou. 



Margaret S., N. Y. C. — Instead of an en- 
velope, you enclosed a card reading : "Din- 
ner immediately after the Ceremony, Rec- 
tor's, Broadway and 48th Street." Life is 
too short to take the burden of another's 
sorrows on our shoulders. That picture 
will undoubtedly be shown in your vicinity; 
tell the manager of your theatre that you 
want to see it. There's nothing romantic 
about a proposal; why, one might be ac- 
cepted ! 



Katherine D., Woodfords, Me. — Blanche 
Sweet has her own company now, under the 
management of Harry Garson. Write to 
her in Hollywood. When we last saw Miss 
Sweet and asked her questions, she just 
smiled her slow smile at us, and said, "I 
don't know." But she looked so subtle 
when she said it I knew she must be very 
clever. She lives in a house on a hill in 
Hollywood and reads Tolstoi. And she gave 
Dorothy Gish a pair of red knitting needles. 
Of course that doesn't matter — but we just 
thought we'd mention it. Marion Davies 
has her own company, too — you might write 
her at the Pathe, Jersey City, studios, where 
she is working. Her new picture is ten- 
tatively titled, "The Burden of Proof," 
which may mean anything, or nothing. Ask 
your theatre manager about showing that 
picture. 



I. C. U., Cheyenne, Wyoming. — Oh, no, 
you don't! What does it matter whether 
your views are sound or not, just so long 
as you express them beautifully? I might 
say to you that she was a pretty girl, and 
you might raise your eye-brows; but you 
would believe me if I extolled her thus: 
"The flame-like crocus sprang from the 
grass to look at her. For her the slim nar- 
cissus stored the cool rain; and for her the 



anemones forgot the Sicilian winds that 
wooed them. And neither crocus, nor ane- 
mones, nor narcissus was as fair as she." 
However, beauty is everything. Norma 
Talmadge's picture, "Panthea," was the 
first of her films to be released under her 
name for Select. Sidney Drew's only son, 
S. Rankin Drew, was killed in France last 
June in an air-battle. Alan Forrest, Ameri- 
can; Mae Marsh and Herbert Rawlinson, 
Goldwyn. 



Sela A. Shlayus, Chicago. — You want 
to write to Kenneth Harlan "to cheer him 
up, now that he's a soldier." Universal 
City will forward a letter to him. Someone 
once said that when war was looked upon 
as vulgar it would cease to be popular; but 
evidently that writer had never known a 
German. 



L. R., Oakland, Cal. — William Stowell is 
your favorite, and you think it's perfectly 
dreadful the way he has been neglected? 
Wait just a minute — we'll run in and tell 
the Editor you want a story about him. 
Now then — (the Editor was busy but we 
left a notation) — we'll tell you all we know 
about William. He's thirty-three; was born 
in Boston March 13 ; and if you'll write to 
him at Universal City am sure he'll tell you 
whether or not he's married. 



Phyllis F., Brookline, Mass. — Wallace 
Reid was the blacksmith in "The Birth of a 
Nation." I suppose you might call it a 
heavy part. Wally played Gerry Farrar's 
English lover in "Joan the Woman." Write 
to Ann Little care Lasky, Hollywood. His- 
tory is not all facts; there is a little supposi- 
tion, some fancy, and not a little romance 
to make it worth studying. Think of being 
able to see history in the making, on the 
screen. Marching men never fail to get a 
thrill out of us. 



Abe F. Regehr, Gooding, Idaho. — You 
addressed us, "Questions and Answers — 
Dear Sirs." There is only one of us, Abe. 
Anyway — Myrtle Lind, than whom there is 
none than-whomer in Sennett's divertisse- 
ments a la femme, was born in Minnesota 
but thought better of it at an early age and 
came to Los Angeles to live. There she at- 
tended dramatic school, had a little amateur 
stage experience, and went into pictures via 
the Mack Sennett comedy route. She's 



about twenty; unmarried, with red hair and 
blue-gray eyes. Write to her Mack Sennett 
Studios, Hollywood, Cal. You're welcome; 
come again. 



E. B., Boston, Mass. — Lila Lee is the 
"Cuddles" who sang "Look Out for Jimmy 
Valentine" on the vaudeville stage. She was 
discovered as a five-year-old playing "ring 
around a rosy" in the streets of Union Hill, 
New Jersey, and jumped from there into 
vaudeville. Then, Jesse L. Lasky discovered 
her all over again, and got her for Paramount 
Pictures. If you write to Famous Players- 
Lasky, 485 Fifth Avenue, they will have her 
send you an autographed photograph. 



John A. P., Poughkeepsie, N. Y. — You 
want a picture from Miss June Caprice of 
Miss June Caprice autographed in Miss 
June Caprice's own handwriting? Well, 
John, all you can do is write to Miss June 
Caprice care Fox and they will forward it. 
June — in real life Betty Lawson — left Fox 
some time ago and at this writing is not 
with any company. Ideals are dangerous 
things; and certainly if I were a woman I 
should never marry a man named John. 
He would call one "little woman" and ex- 
pect one to remember how many lumps of 
sugar he took in his coffee. 



Mildred B., Muskogee, Okla. — Here's all 
the information we can give you on Charles 
Gunn : he's about twenty-seven and we be- 
lieve he isn't married. He is playing foi 
Paralta; write to him at the Paralta 
Studios. 



M. L. Davie, Detroit, Mich. — You do 
wish that Bill Hart would do something dif- 
ferent? Well, in "Shark Monroe" he's cap- 
tain of a ship and there's a fight without 
guns — but he marries the girl in the sixth 
reel as usual. But then, you know, the de- 
mand is for the happy ending. You say, 
"Things so rarely end happily in real life." 
We think you're wrong. That's a fallacy. 
This sums it all up : after you've lost your 
illusions, try to cultivate a great tolerance. 
Of course it is easy to be tolerant in theory; 
it's another thing to practice it. But if you 
don't, you'll be stubbing your toes and 
bumping your head all the time. Gladys 
Leslie may be called a "find," I suppose. 
At any rate she's the girl with the "million- 
dollar smile." 

99 



IOO 



F. L. W. P., Jr. — Mollie King is not ap- 
pearing in pictures at present, but you 
might write to her at the Century Theatre 
in New York, where she performs atop the 
roof in the Midnight Revue. This queen of 
Kings is just twenty and happily unmarried. 
You needn't apologize. Your letter was 
courteous and well-written, and we want you 
to write again. The majority of the picture 
public is interested only in personalities. 
What is true about art is true about life. 



A. D., Portsmouth, N. H. — Will Machin 
played the Captain in "The Garden of Al- 
lah." Florence Vidor with Julian Eltinge 
in "The Countess Charming." Ramsey 
Wallace was the erring husband in "The 
Woman and the Law." Richard Barthelmess 
lives at 126 W. 47th St., N. Y. He is not 
married and if he is engaged he has not 
confided in us. Rodney La Roque is nine- 
teen; he was born in Chicago and educated 
in Nebraska; and he was with Essanay be- 
fore joining Goldwyn to play opposite 
Mabel. Rod isn't married. Marguerite 
Clark has one sister, Cora; and Marguerite 
is engaged to be married to Lieut. F. Palmer- 
son Williams, U. S. A. The Clarks live in 
Central Park West in New York. Mr. 
Clark's picture appears in this issue of 
Photoplay. There are two tragedies — one 
is not getting what you want; the other is 
getting it. And the last is the worst, for 
we can't have everything — as Rupert Hughes 
told us when he decided that it is better to 
be filmed than to gather dust on the library 
shelves, nestling 'gainst last year's other sex 
best sellers. 



Frenchie, Galveston, Texas. — Antonio 
Moreno is not engaged to Edith Storey, but 
there was a rumor once. Kathlyn Williams 
may be addressed care Lasky studio, Holly- 
wood. Bobby Harron's "little mustache" in 
"Hearts of the World" is real — and we think 
he wears it in all his new pictures. You say 
you don't like it. But it gives Bobby an 
added dignity, he says. He is going to get 
in the Big Show now. Anita Stewart is 
making pictures for Vitagraph again. 
Rudolph Cameron is flying for Uncle Sam. 



Ignatius II, W. A. — We cannot send sam- 
ple copies of Photoplay to foreign countries 
unless eight cents in the form of Inter- 
national Coupons is enclosed to cover the 
postage on one issue. Why not give your 
friend a copy to read? Write to Enid Ben- 
nett care Thomas H. Ince studios, Culver 
City, Cal. Bill Hart's latest is "Riddle 
Gawne," and we're publishing the story in 
fiction form in this issue of Photoplay. 



Marion, Woodhaven, L. I. — Mahlon Ham- 
ilton doesn't say whether or not he is mar- 
ried. He is not with Pathe now; his latest 
appearance was in "The Danger Mark," with 
Elsie Ferguson. No trouble at all, and 
write again, Marion. 



"Sally," Somerville. — Indeed we do re- 
member you ; always glad. Here are the 
addresses you want : Irving Cummings, 
World, Ft. Lee; Charles Clary, Fox, Holly- 
wood; Montagu Love, World; Eugene O'- 
Brien, Select, N. Y. (Norma Talmadge 
studio) ; House Peters, Sunset Pictures, Inc., 
Hollywood, Cal.; Mahlon Hamilton, Art- 
craft, N. Y. ; Conway Tearle, Vitagraph; 
David Powell, Mutual; Vernon Steele, 
Players Club, N. Y. ; Billie Rhodes, Bill Par- 
sons — Goldwyn; George Beban, Beban Co., 
Universal City, Cal. Mary Fuller is not 
playing now; neither is Vera Sisson, and 
we cannot give you their addresses, but 
when they come back we'll let you know at 
once. Marc MacDermott was with Vita- 
graph last; you might write him there, and 
they will forward it. Mother Maurice died 
in May. Good luck to you. 



Questions and Answers 

(Continued) 

J. S. K., Denver. — House Peters has come 
back. He is making a picture for the Sun- 
set Pictures, Inc., under the direction of 
Frank Powell. At the present time Mr. 
Peters is in San Antonio, Texas, on location. 
His first release under the new brand is 
called "The Forfeit." Yes, it was rumored 
that he was to be Blanche Sweet's leading 
man in her new company, but that proved 
to be only a rumor. Remember when they 
played together for Lasky? We agree with 
you. 



K. W., Vancouver, B. C. — Another Con- 
way Tearle query. Tearle's address is given 
elsewhere in these columns. Write to him 
for a picture. Did you know he was mar- 
ried recently? To Miss Adele Rowland, a 
popular musical comedy and vaudeville 
actress. He was divorced from his first 
wife. That is his real name. Tearle was 
born in N. Y. in 1880. After a long stage 
career came to the screen for Famous; then 
played with Clara K. Young; did "The 
World for Sale" and "The Judgment House" 
for Paramount; lately with Vitagraph, al- 
though by the time this reaches you he may 
have formed some new affiliation. Photo- 
play has always kept track of his where- 
abouts. There's a story about him in the 
September issue. 



R. S. Aldrich, Brookline, Mass. — Write 
to the Select company or to Norma and 
Constance Talmadge personally for a copy 
of the photograph you mention. Photo- 
play does not sell pictures. 



Dorothy Dunn, Sask., Canada. — Address 
J. Warren Kerrigan care Paralta. Allen 
Holubar in "Treason." We are answering 
your question here because, although you 
enclosed an envelope, you neglected to put a 
stamp in the upper right-hand corner — or 
any other corner. 



Anna B., Trenton, N. J. — To settle that 
"real strenuous argument which spoiled a 
dinner-party," we're glad to be able to as- 
sure you that Alice Brady, so far from being 
"extraordinarily tall with blue eyes," is 
medium height, with brown eyes. Thanks; 
write again. 



Jennie M., Somerville, Mass. — We have 
several correspondents from your city. Wil- 
liam Farnum lives in California; write to 
him, for his picture, care Fox studios, Holly- 
wood. Quite sure he will send you one. 
Some of his best known pictures have been : 
"A Tale of Two Cities," "Les Miserables," 
"The Heart of a Lion;" and he is now work- 
ing on the filmizations of Zane Grey's west- 
ern novels. 



Annette S., Troy, Ala. — Address Norma 
Talmadge care Select, N. Y. ; Gladys Hulette, 
Pathe; Ethel Clayton, Lasky, Hollywood; 
Billie Burke, Famous Players, N. Y. ; Niles 
Welch, Famous Players — Lasky Studio, 
Hollywood; Eugene O'Brien, Select (Norma 
Talmadge studio). Norma Talmadge is mar- 
ried to Joseph Schenck. Billie Burke is Mrs. 
Flo Ziegfeld in private life. Ethel Clayton 
is the widow of Joseph Kaufman. Niles 
Welch is married to Dell Boone, while 
Eugene O'Brien and Gladys Hulette are not 
married. 



Harold J. Vecotsky, N. Y. — Mary Miles 
Minter (American), June Caprice (Fox), 
Mildred Harris (Universal- Weber), Margery 
Daw (Lasky), and Pauline Starke (Triangle) 
are some of the younger players. Lila Lee, 
the new Paramount star, we believe is the 
youngest young girl featured on the screen 
today. Miss Lee is just fifteen. Dorothy 
Gish (Griffith-Artcraft) is only nineteen. 
Mary Miles Minter is about sixteen; she is 
five feet, two inches tall and has been on the 



screen about three years. She will be very 
glad to send you her picture; write to her 
care American Film Company, Santa Bar- 
bara, Cal. Anita Stewart is twenty-two; 
she is married to Rudolph Cameron. Miss 
Stewart is acting again for Vitagraph 
(Brooklyn, N. Y.). Neither Jack nor Mary 
have any children. Norma Talmadge is mar- 
ried to Joseph Schenck; Constance is not 
married. Write to them care Select, N. Y. 
Mary Miles Minter's latest at this writing is 
"The Ghost of Rosy Taylor." 



J. H. Schwenk, Newark, N. J. — We 
have handed your letter to the "Why-do- 
they-Do-It" editor; it is up to him. Haven't 
you any questions to ask us? Your letter 
indicated a sense of humor. Please ask us 
something. 



Opal McP., Portland. — Alliteration, not 
illiteration. No, Opal, Monroe Salisbury eez 
not an Italian. He was born in N. Y.; 
won't tell us how long ago. He is not mar- 
ried. Bill Desmond has been on the screen 
two and one-half years. Franklyn Farnum 
and William Farnum are not related. Mae 
Marsh is twenty-one, Madge Kennedy two 
or three years older. Madge Kennedy is 
married to Harold Bolster; Miss Marsh is 
not married. Theda Bara has been picture- 
making four years now. Yes, she was on the 
stage in New York. Bill Hart is American, 
and he has his own company under the Art- 
craft banner. You're welcome, Opal. 



Gerald E. H, Oak Lane, Phila. — Tom 
Meighan is Tom Meighan in private life. 
Douglas Fairbanks is thirty-five. Mrs. Fair- 
banks is a non-professional; her maiden 
name was Beth Sully. Doug's latest is 
"Bound in Morocco;" and he is at present 
working on the picturization of his best- 
known stage play, "He Comes Up Smil- 
ing." But there's nothing new for Doug- 
las, is it? Oh, — we usually say what we 
think; that's why we are so often mis- 
understood. You know prejudice is just a 
personal opinion that has been led astray. 



E. L. M., Hartford, Conn. — William Far- 
num is married; he has an adopted daugh- 
ter, Olive May. ' He recently erected a 
luxurious bungalow on the studio lot in 
Hollywood, where he may rest, read, and 
autograph photographs between scenes. Far- 
num calls it "my little grey home in the 
west." Why? Oh, because there's a song 
called that. Dustin is William's own 
brother. So far as we know, Dusty has to 
be content with a perfectly ordinary indoor 
dressing-room, even though he has his own 
company. Mary Martin in "The Heart of 
a Lion." She's playing in "A Tailor-Made 
Man" in N. Y. 



DOMENECK L. STANIO, BROOKLYN, N. Y. 

Address Pearl White care Pathe, Jersey City, 
N. J. Marie Walcamp, Universal City, Cal. 
You want to know if you could be an actor : 
"I have a good memory." It seems to us 
that a poor memory would be more con- 
venient. But go right ahead. One of the 
things we have learned in our capacity as 
Answer Man is never to discourage anyone 
who is bound to be a fillum star. We can 
only quote that best little adage, "Experi- 
ence," etc. 



V. H., Medford, Oregon. — We hear from 
so many girls named Violet. It was Vernon 
Steel who played with Mae Marsh in "Polly 
of the Circus." Mr. Steel is also with Anita 
Stewart in "The 'Mind-the-Paint' Girl" 
(Vitagraph). 



Robert, Quebec, Can. — We cannot give 
personal addresses. Roland Bottomley, with 
Balboa last, has gone to war. He's an Eng- 
lishman. 



Questions and Answers 

(Continued) 
E. H., Huntington, W. Va. — Nigel Barrie 
played "Carter Brooks'' in the Bab stories. 
He is now with the Royal Air Force; his 
picture appeared in September Photoplay, 
and he is married and proud of it. The last 
"Bab" story won't be filmed until Barrie 
comes back. Following are the ages and 
addresses you asked for : Charles Chaplin, 
twenty-nine, Chaplin studio, Hollywood ; 
Mary Pickford, twenty-five, Artcraft, Holly- 
wood; Norma Talmadge, twenty-one, Se- 
lect, N. Y. Mabel Taliaferro, Metro, N. Y., 
doesn't give her age, but she is about thirty. 
She's Mrs. Tom Carrigan, and she has a 
small son. 



Photoplay Magazine— Advertising Section 



IOI 



Fern A., Detroit, Mich. — Richard Bar- 
thelmess is twenty-three; he has dark hair 
and brown eyes. He plays with Marguerite 
Clark — lately in "Rich Man, Poor Man." 
Write to him care Famous Players Studio, N. 
Y. Barthelmess is not married. Marshall 
Neilan is with Artcraft ; Olive Thomas may 
be addressed care Triangle at Culver City, 
Cal,; and Anita Stewart care Vitagraph, 
Brooklyn, N. Y. Neilan is married; he is 
twenty-seven, and has light hair and blue 
eyes. 

Miss Frese, Dorchester, Mass. — We're 
glad to hear from someone who has been 
reading Questions and Answers faithfully for 
three years, and only too glad to answer 
your questions. Robert Gordon played 
"Huckleberry Finn" in "Tom Sawyer." 
Photoplay had a story about Gordon last 
month. He supports Mary Pickford in 
"Captain Kidd, Jr." Doris Lee with Charles 
Ray. Why, we have had pictures of Charles 
Ray and Marie Doro very recently. Write 
again. 

Elsie P., Paterson, N. J. — That was 
Edith Taliaferro on the stage in "Mother 
Carey's Chickens." Your questions about 
Theda Bara, Fairbanks, and Bushman and 
Bayne are decidedly against the rules. Anita 
Stewart's new picture is "The Mind-the- 
Paint Girl" for Vitagraph. Charles Chaplin 
is very much alive; his latest comedy is 
called "Shoulder Arms!" 



Miss Harding, Vicksburg, Mass. — You 
say you are seventy, but we don't believe 
you. Milton Sills is now with Goldwyn, 
playing opposite Geraldine Farrar. He made 
quite a few pictures with Clara Kimball 
Young; the last was "The Savage Woman." 
There was a story about Mr. Sills in Photo- 
play for July. Sills doesn't give his age, nor 
whether or not he is married. He may be 
addressed 450 Riverside Drive, N. Y. Bessie 
Eyton last appeared opposite Harold Lock- 
wood in a Metro picture. 



F. D., Springfield, O. — Sorry your letter 
wasn't answered before this, but hope this 
will reach you. You were right — William 
and Dustin Farnum are brothers. The other 
Farnum, Franklyn, is not however, related 
to Dusty and Bill. You want a story and 
picture of Belle Bennett. Miss Bennett will 
doubtless send you her picture. 



Eugene O'Brien Admirer, Paterson, N. 
J. — Eugene is going back to the stage next 
season. He isn't married and his address is 
given elsewhere in these columns. One of 
his late pictures is "Her Only Way," and he 
will appear in three more films opposite 
Norma Talmadge. See above for Barthel- 
mess. 



Helen C, Frisco. — Douglas McLean 
played with Gail Kane in "The Upper Crust." 
Address Richard Barthelmess care Famous 
Players, N. Y. Wallace Reid at the Lasky 
studios in Hollywood, and Ruth Clifford 
care Universal at U. City, Cal. Write again. 



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The Shadow Stage 

(Continued from page 78) 



BACK TO THE WOODS— Goldwyn 

AH Mabel Normand stories are enter- 
taining, or not, as they approach or recede 
from the Mabel Normand we used to 
know. As an adventure, this is only 
mildly diverting, but George Irving, who 
directed, has found a bit of the elfishness, 
the quaintness, which made Mabel a coast 
immortal. The piece is an account of a 
society girl determined not to have a 
society husband forced upon her — and 
therefore, of course, finding that very 
society husband under better auspices in 
a lumber forest. Herbert Rawlinson dis- 
ports as the particular young man. Sun- 
rise is too late to shoot the I-am-clever 
party who wrote these long subtitles; he 
should be called to the stone wall about 
half-past two. 

THE GLORIOUS ADVENTURE— 

Goldwyn 

Not much to say for the gloriousness of 
it. If this is glory, glory doesn't live up 
to its advertising. It is the ancient tale 
of sequestered innocence, good motives, 
no knowledge of the world, positive and 
negative villains, and the final triumph 
of sweetness, truth, purity, nobility and 
love. Too much of which, taken in warm 
weather, tend to biliousness. Only George 
Loane Tucker, in "The Cinderella Man," 
seemed to realize what a truly dainty 
comedienne Mae Marsh is. 

FEDORA— Paramount 

There's an interesting news-slant to 
"Fedora," just turned out of the Famous- 
Players workshop. It completes the cycle 
of Sardou plays, which are still supremely 
popular in Europe and South America. 
Once upon a time the bringing of an all- 
European company to manufacture these 
was seriously considered. They were to 
be planted in California. Then the insti- 
tution thought better of it — why not make 
the plays with American casts, and, for 
export purposes, merely translate the 
titles? The work is completed, now. 
Pauline Frederick in the title part is regal 
and dramatic — an ideal impersonator. 
Alfred Hickman as Gretch, the police of- 
ficial, admirably deploys a great acting 
talent. But many of the minor details 
are faulty and marred by unnecessary 
carelessness. 

WAIFS-Pathe 

The charm of Gladys Hulette used to 
be the fascination of a piquant little girl. 
It is now grown to be a very womanly lure 
— but it is still charm. Miss Hulette is 
one of the few ingenues, it seems to me, 
whose ingenueism doesn't seem offensively 
premeditated. Her dramatic affectation 
of innocence doesn't make you sore, in 
other words. This play is the quaint little 
misadventure of a girl who met and was 
protected by entirely the wrong fellow, in 
the right house. Creighton Hale is the 
right wrong man, and while we are never 
in any doubt of the finish there are 



touches of reality that make the whole 
diverting. 

CUPID BY PROXY— Diando-Pathe 

The title-writer took the cartridge out 
of our gun, here, when he wrote "Of 
course Ralph was suspected . . . and 
then, we need a plot." When a fellow 
confesses all the fun of denouncing him 
is gone. If it hadn't been for that one 
title we could have broken a stick over 
the author's head with right merry zest 
. . . and, too, she's a lady Isabel 
Johnston by name. In all seriousness, it 
is tragic to waste so clever a youngster 
as Baby Marie Osborne in such sirupy 
melodrama. Properly equipped, she is the 
most charming — or at least the most 
varied and energetic — child on the screen. 
And she should have material, for childish 
years are few. 

THE DREAM LADY— Bluebird 

Carmel Meyers is both an Oriental and 
an old-fashioned beauty. In a play of the 
East, or in some water-subject in which 
her gorgeous body gets a chance to reflect 
the sunshine, she is truly Oriental and 
splendid. But in a play like this she is 
quaint, a bit mystic, holding an infinity of 
pathos behind her young face. "The 
Dream Lady" starts better than it fin- 
ishes. The first disposition of the fan- 
tastic young girl who lives in her mind, 
and among the creatures of her imagina- 
tion, presupposes a rare plot to the end. 
Though this is not carried out there is still 
much of Carmel, and for that we are 
grateful. 

A PAIR OF SILK STOCKINGS— 
Select 

An exceedingly light but human story 
about a young divorcee who traps her 
ex-husband in a closet, thinks him a 
burglar, ties him up with the assistance of 
another girl's fiance who has just climbed 
into her bedroom window, and, thereby, 
starts a general world-war as far as that 
household is concerned. The fabrication 
is not as naughty as it sounds. It is Eng- 
lish, frothy, fast and casual enough to be 
a refreshing diversion in screen play — 
where everything is taken too seriously. 
Constance Talmadge plays the diverting 
heroine, and the direction is by Walter 
Edwards, always a human being, and here 
at his humanest. The deportment and 
surroundings reflect gentility. 

THE SAFETY CURTAIN— Select 

Once more, Norma Talmadge and the 
stalwart and handsome lad who rescues 
her from infinite misunderstanding; the 
lad, of course, being Eugene O'Brien. 
Here Miss Talmadge is the dancing wife 
of a brutal acrobat — conveniently made 
German, we suspect, just so we'd like him 
still less. There is a pretty good theatre 
fire, and the action passes from Lon- 
don to the Far East, where, after some 
persecutions, the brutal acrobat dies, 
and Miss Talmadge may become Mrs. 



Every advertisement in PHOTOPLAY MAGAZINE i3 guaranteed. 



Photoplay Magazine — Advertising Section 



The Shadow Stage 



(Continued) 

O'Brien — we speak entirely of the play, of 
course — according to the law and the 
censors. Miss Talmadge exhibits her 
customary rapid changes of childishness, 
tenderness and passion. 

UP ROMANCE ROAD— Mutual 

I think the author just missed a great 
story by mixing in the too convenient 
German frightfulness. Had she been con- 
tent to tell her story and lay it entirely 
in ordinary life she would have carried 
thorough conviction every inch of the 
way. As it is, it is unusual and grip- 
ping. It concerns one Gregory Thorne, 
who, engaged to Marta Milbanke, decides 
that theirs is a commonplace sort of ro- 
mance, and the only way to get really in 
love is to get in trouble. Their carefully 
planned escapades turn out to be dire 
seriousness, and there are some splendid 
fights of the sort in which Bill Russell is 
perhaps the best celluloid exponent. 
Charlotte Burton does excellent work op- 
posite him, as Marta. 

THE GHOST OF ROSY TAYLOR— 

Mutual 

A sort of elfin-like story in which a 
little American girl, orphaned in Paris, 
at the beginning of the war, returns to 
America without resources. Wandering 
disconsolately through a park she finds 
a note accidentally dropped, containing 
a key, and a two-dollar bill, directing a 
certain Rosy Taylor to put a certain 
house to rights once each week during 
the owner's absence. The girl becomes a 
pseudo Rosy Taylor, gets the wee wage — 
and the startled housewife, discovering 
that the real Rosy Taylor is dead, thinks 
of ghosts. There is a romance. Mary 
Miles Minter depicts the young woman, 
Rhoda Sayles. 

A GOOD LOSER— Triangle 

Here is a story with a bit of real her- 
oism without heroics. It is the account 
of a man who makes the big sacrifice, and 
the inevitable one, without benefit of 
applause or even human knowledge — all 
for a man who has been his friend. That 
sacrifice is, as you might suppose, one en- 
nobling side of a triangular love interest. 
This photoplay is well written, well acted 
and superbly photographed. Lee Hill has 
the chief role, and the delicate beauty of 
Peggy Pierce is considerably in evidence. 

BY PROXY— Triangle 

Perhaps the best of the familiar "Red 
Saunders" stories as far as the films are 
concerned. It concerns the proxy love- 
making of a likeable cowboy portrayed 
by Roy Stewart, Cupiding it for his pal 
— who has no more real chance than a 
goat. Maud Wayne is the delicious prize 
of the proxying. 

EVERYWOMAN'S HUSBAND— 
Triangle 

The not-unprofitable tale of an igno- 
rant bride, a hard-driven groom and a 




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-Advertising Section 

The Shadow Sta^ 

(Continued) 



selfish mother-in-law, marked by a star- 
tling bit of reality here and there. The 
moral of this entertainment is that mar- 
riage, like everything else, must be 
studied to be successful; and is, as well, 
a thoroughly two-sided affair. Gloria 
Swanson, the well-known ripe peach, is 
the bride, and Lillian Langdon is highly 
real as mother-in-law. 

BOUND IN MOROCCO— Artcraft 

We have followed Doug Fairbanks to 
South America, to the Orient, to the 
War, to the seats of English aristocracy, 
to Russia, to Hoboken — so it is no sur- 
prise to meet up with him in Morocco. 
We knew he'd get there some day. It 
was only a question of more or less time. 
American ingenuity, the Fairbanks teeth 
and some utterly confounded first and 
second villains are the essentials of this 
characteristic and regulation adventure 
in the Sahara. In passing we may men- 
tion Tully Marshall and the droll AH Pah 
Shush, and Edythe Chapman as the 
mamma of the little morsel heroine. 



A NINE O'CLOCK TOWN- 
Paramount 



-It 



Behold a yarn about a smart young 
fellow who went to the bad in New York, 
and, masking his defeat, brought his 
"methods" back to revive his father's 
country store. It is a bit of relief after 
the solemnities of eternal successful, 
never-wrong heroes. Charles Ray, too, 
is especially adapted to such a part as 
David Clary, the young know-it-all who 
was going to turn the big town upside 
down, and only upset himself. Add the 
sultry, pouty beauty of Jane Novak, and 
you have the other chief ingredient. 

WEDLOCK— Paralta 

A new twist to an old story, carefully 
made, as has been the rule with almost 
all Paralta productions. But the prin- 
cipal thing is the return of Louise Glaum 
to sympathetic parts. As a young wife 
whose vocabulary has no such word as 
quit, Miss Glaum is sincere, human and 
appealing. While this is by no means 
a big effort, it is a photoplay which has 
grafted atmosphere and humanity to an 
old melodramatic root. 

THE GOLDEN WALL— World 

Not even the war suffices to down the 
very old, and apparently always welcome 
story of the Prince incognito. This one 
is reincarnated in the person of Carlyle 
Blackwell. Madge Evans gave some de- 
lightfully sincere childish assistance to an 
obvious plot. 

HEREDITY— World 

The title seems a bit askew, but other- 
wise we have small complaint to make. 
You must accept the story in the spirit 
in which it is written. It is, indeed, a 
story for the conventional, but it is a 
good story of the old-fashioned, trans- 
parent sort, simply and directly told. The 
staging leaves much to be desired at 



times, but the splendid work of Madge 
Evans — who's the real star of the piece 
— and her support by John Bowers and 
the lovely Barbara Castleton make the 
presentation entertaining. 

NEIGHBORS— World 

Here is the best vehicle yet given to 
Madge Evans, and one of World's best 
releases in months. It is just a kid story, 
primitive and even deficient in plot, but 
it is full of pranks and childish stuff, and 
the scenes are sometimes of homely in- 
terest, sometimes picturesque. 

Briefly: 

"Hell's End" (Triangle)— A bit of 
good fighting by Bill Desmond, a bit of 
good looking by Josie Sedgwick, a bit of 
good photography by the cameraman; 
that's about all the goods of this one. 

"Beyond the Shadows" (Triangle) — 
Another Desmondian epic, with the same 
Sedgwick decoration. Mr. Desmond gets 
into the dialect and tailor's novelties of 
one Jean du Bois, a trader of the North- 
west, and while he is scarcely a French- 
Canadian, he is forceful and sincere. 

"False Ambition" (Triangle) — Alma 
Rubens, in a drama of mystery originally 
called "Judith." The new title, trite and 
banal, bears the same relation to the 
strong and simple original that the film 
play bears to the original script. 

"Marked Cards" (Triangle)— A play 
of a single big episode, centering about 
a girl's effort to save her sweetheart. 
Marjorie Wilson is the star. 

"Cactus Crandall" (Triangle) — A reg- 
ulation entertainment of spurs, shots and 
(subtitle) shouts. Chiefly interesting be- 
cause Roy Stewart wrote it and acted the 
principal galloper. 

"The City of Dim Faces" (Paramount) 
— Sessue Hayakawa in a" tableau of the 
old San Francisco Chinatown, very color- 
ful to the finish, which is very black. 

"Scandal Mongers" (Universal) — A re- 
issue of the vital old Weber-Smalley 
"Scandal," which name Major Laemmle 
evidently relinquished, last autumn, to 
Col. Selznick. New titles and some fur- 
bishing permit this to be still a live scroll 
of celluloid. 

"Joan of the Woods" (World)— A 
pretty poor thing to occupy the talents 
of such people as June Elvidge and John 
Bowers; the tawdriest kind of movis- 
melo. 

"The Claws of the Hun" (Ince-Para- 
mount) — Charlie Ray, in a war-at-home 
story that places frank dependence upon 
patriotic sentiment for any success it may 
have. 

"The Death Dance" (Select)— A some- 
what physical but none the less strong, 
well-knit, well-presented melodrama. 
Alice Brady is even more than usually 
good for the eyes, and she is well sur- 
rounded by a cast whose especially con- 
vincing members are Robert Cain, Helen 
Montrose, Mahlon Hamilton and H. E. 
Herbert. J. Searle Dawley, who messed 
up "Uncle Tom," assuredly redeemed him- 



Photoplay Magazine — Advertising Section 



105 






The Shadow Stage 

(Concluded) 

self in this direction. The story concerns 
the adventures and romances of a cabaret 
singer. 

"Love Watches" (Vitagraph) — Corinne 
Griffith, in an old Billie Burke role. The 
frothy substance of this farce was rather 
well masked on the stage, but on the 
screen its weakness doesn't wear even a 
makeup. 

"One Thousand Dollars" (Vitagraph) — 
Another one of the 0. Henry stories that 
seem to be nothing in re-telling — and 
very satisfactory in presentation. All be- 
cause O. Henry was a great humanitarian. 
Edward Earle is the principal exponent. 

"Her Moment" (General Film) — A 
large and cumbersome though evidently 
sincere attempt on the part of everybody 
to put across a real melodramatic smash. 
with the result that the piece is long and 
unnecessarily heavy. It is a story of the 
Balkans and America, with Anna Luther's 
titian loveliness the principal concern of 
all hands. 

"The Demon" (Metro)— A Williamson 
novel, turned into active photography by 
George D. Baker for the sure powers and 
charm of Edith Storey. Still — it's not 
one of her best vehicles. 

"No Man's Land" (Metro) — Albert Le- 
vino, who made this scenario, is a bright 
lad who can do and has done a lot better 
work. At any rate Bert Lytell should 
be riding in a stronger celluloid wagon, 
especially when he has such fellow-pas- 
sengers as Anna Nilsson and Eugene 
Pallette. 

"As the Sun Went Down" (Metro)— 
Edith Storey in a rather vivid Western 
which seems to owe a lot of its character 
to director Mason Hopper. 

"Less than Kin" (Paramount) — Wal- 
lace Reid, in an interesting two-role ad- 
venture finely cast and produced, orna- 
mented by the cool, sharp beauty of Anna 
Little, and bulwarked by the acting of 
Raymond Hatton, James Neill, Gustav 
Seyffertitz and James Cruze. By the 
way — where's the "von" that Mr. Seyffer- 
titz used to wear? 

"Riddle Gawne" (Artcraft) — A Wil- 
liam S. Hart vehicle, performed as usual. 
The plot will be found completely de- 
tailed in this issue, as fiction. 

"The Deciding Kiss" (Bluebird)— Not 
so sissy as it sounds, although the story 
is not out of the ordinary. Edith Roberts 
is the prominent personage. 

"The Girl from Bohemia" (Pathe) — 
An entertaining though not extensively 
clever vehicle, remarkable principally as 
Mrs. Vernon Castle's final photoplay. 

"A Romance of the Underworld" 
(Keeney Productions) — When the late 
Paul Armstrong put this piece on the 
stage he saved it from mere gross melo- 
dramaticism by a remarkable cast and 
powerful dialogue. The picture lacks 
this, and shows New York as Uncle Silas 
and Aunt Samantha believe it to be. 
Armstrong's widow, Catherine Calvert — a 
remarkably pretty woman — has the same 
role she played on the stage, and is, in 
the main, well supported. One critic 
called the photoplay "A Treatise on the 
Haunts and Habits of Snowbirds." He 
wasn't far wrong. 




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(Continued from page Q4) 

Littlefield, very well known leading man, tion more than 12 per cent of the entire 
is in France in the ambulance service, male staff. Among those today are 
Don Keyes, cameraman, is in the Signal Joseph A. Roach, scenario writer; Harry 
Corps. Edwards, director; leading man Lloyd 

Among the actors who have gone in are Bacon, and Charles M. Parker, vice- 
Theodore Duncan, now a Captain of Ar- president of the corporation. 

tillery; Tom Forman, infantry First 

General Film has recorded over sixty 
men in the United States service, and 
avers that this is by no means a complete 
roster of its patriotism. 

Two of its men are Y. M. C. A. sec- 
retaries, and John J. McDonald, of New 
York City, is a physical instructor with 
Pershing's forces. 



Lieutenant; Lieut. George Hamilton, 
Sergt. Vincent Higgins, Lieut. Adolphe 
Menjou, and Albert Bassett, of the Ma- 
rines. 

Eugene Pallette is an aviator. So is 
Leo Nomis. Frank Dazey, scenario 
writer and son of Charles T. Dazey, is a 
Lieutenant in France. Walter Long, Grif- 
fith's prize villain, has been for many 
months a Lieutenant of Artillery stationed 
at Fort McArthur, California. Kenneth 
O'Hara, Ince's press-agent, is an aviator. 
Al Kaufman, studio manager of The 
Famous Players, is an officer of the Signal 
Corps. 

Nor are this institution's honors con- 
fined to the men. Helen Swayne, of 
Famous Players, is a Red Cross nurse in 
France; while Agnes Berrill, of the Lasky 
forces, is a first-class yeoman, U. S. N., 
on duty in Washington, D. C. 

Captain Robert Warwick, formerly of 
Select, was detailed by Pershing to re- 
turn from France on film service for the 
United States. 

Victor Herman, one of the most re- 
sourceful of Sennett's directors, is in the 
submarine service. 



Three Universal directors are already 
in the army. These are Jacques Jaccard, 
the serial-maker; George Marshall, and 
Robert Ross. 

Kenneth Harlan, matinee hero, is at 
Camp Kearney. Bill Gettinger, one of 
Universale cowboy actors, is already 
"over there." Frank Elliott is in the 
government Intelligence service. Glenn 
Lewis is an aviator. James Tait has been 
sent to England to study tank warfare as 
mastered by the British. Leo Bachman, 
a cutter at Universal City, has, for his 
knowledge of woodcraft, been sent to the 
spruce forests of the Northwest to select 
timber for airplanes. 

There is a Universal actor in every 
branch of the war service; more than a 
score in the army, and almost an equal 
number in the navy. 

Charles Wallack has been made an offi- 
cer of the medical service, and John 
Schroeder is an officer of aviation. 



The Goldwyn organization protests 
that it has nothing resembling a full serv- 
ice list, and finds it impossible at present 
to get one. Nevertheless, that concern 
presents some interesting examples of 
service. 

Adrian Gil-Speare, scenario chief of the 
concern, left to enter the army, and soon 
attached himself to the aviation branch. 
He won more than ordinary honors, has 
been made a captain, commander in the 
balloon section, and, at this writing, is 
handling a covey of dirigibles in Cuba. 

Tom Powers, delightful young actor 
whom you'll remember last of all, per- 
haps, as leading man in "The Auction 
Block," entered the American army, pro- 
gressed from station to station, went to 
an officer's training camp in Georgia, was 
sent to France, switched to the British 
Royal Flying Corps, and is now bombing 
and scouting along the Western front. 

Odd is the fate of S. Richard Nelson, 
whom you may remember in a remark- 
able character part in "Fields of Honor." 
He played the role of the Serbian whose 
assassination of the Austrian arch-duke 
caused the war. Of course it was up to 
him to finish what he started — so he has 
gone across. 



Paralta's list of servants of the guns 
is small, but redoubtable. Both Paralta 
and Zukor-Lasky claim Kenneth O'Hara, 
but perhaps Paralta's claim is most just, 
since he served there last. 

Robert T. Kane, vice-president of the 
Paralta corporation, enlisted, and is in 
training at American Lake. 



Because of its limited production, the 
First National Exhibitors' Circuit's ac- 
torial contribution to the war is negligible, 
nevertheless it is perfectly amazing in the 
prowess and response of its office force 
and exchange men. 

In Texas, for example, it has con- 
tributed, in officers and privates, forty- 



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The World Film Corporation has 
seventy-seven stars in its production serv- 
ice flag. 

Two directors — George Archambaud 
and George Cowl— are already with the ^our men to the State s quota of troops 
army. 

Edward Langford, ex-leading man for 
Ethel Clayton's company, is the only 



well-known actor in the service, for 
World has today almost no actors of 
draft specifications. But it has sent many 
of its technical and other men to the 
front. 



The service flag that flies over the 
Triangle lot at Culver City has fifty-five 
stars in it — all members of the actual, 
production force in the war, and a frac- departments, who have gone. 

advertisement in rHOTOFLAY jrAGAZIXE is guaranteed 



Metro pins to its service banner the 
only gold stars the industry wears at this 
writing. One is for S. Rankin Drew, lost 
above the German lines in June. The 
other, for Arthur Herman, a property 
man at the Metro Studio. Mr. Herman 
enlisted in the navy, and was lost in a 
storm off the coast of Cuba. 

Though no attempt has been made to 
tabulate the military departures there is 
a record of more than 100, in all Metro 



Photoplay Magazine — Advertising Section 



Sons of the Sun in Arms! 

(Continued) 

Among the more interesting assign- 
ments are those of J. M. Loughborough, 
first lieutenant of infantry; cameraman 
Alfred Raboch, now a map-maker of the 
naval radio service; Lester Cuneo, well- 
known actor with Metro and Essanay, 
now an aviation corporal; Hartley Mc- 
Vey, lieutenant of aviation; Louis 
Klopsch, liaison officer of infantry; stu- 
dio-manager Benjamin Boyar, now an of- 
ficer in the quartermaster's department; 
director Frederick Sittenham, a naval 
aviator; casting director Louis Hooper, 
in the Canadian ambulance service, and 
Luther Reed, scenario writer, now in an 
officer's training camp in the south. 



There are nearly a hundred men from 
Vitagraph's production department in 
Uncle Sam's service. Five of this com- 
pany's directors are in training at one of 
the camps over here, or seeing service 
overseas. There's Frank Hulette, Jack 
Evans, Joseph Basil, and Lieut. Wesley 
Ruggles; and Percy Pulver and Victor 
Smith, Captains of Infantry. 



Of individual exploits, of heroisms, of 
romances, of novel efforts, of comedies, 
and of tragedies, there might be much to 
tell. 

Consider, for instance, the heroic young 
American aviator S. Rankin Drew, one of 
the very finest directorial talents in the 
picture business, son of Sidney Drew and 
scion of a great line. Drew passed in 
flames on a blue-and-white June morning, 
battling seven German aviators! In 
death, his foemen honored him. 



Turn from this to a tragi-comedy of 
the Famous Players. Subject, a timid 
lad named Reuben Jackter. Jackter was 
missing on three mornings — without ex- 
planation. The third' time he was 
promptly hauled onto the carpet, when it 
was discovered that on two occasions he 
went to the docks to bid soldier-brothers 
good-bye, and on the third he was at a 
memorial service for his one remaining 
brother, who had been killed in France! 
From four bread-winners, of which he 
had been the least, the family at home, 
comprising a mother and several small 
children, had been reduced to a single 
bread-winner — the boy Reuben. Yet he 
had taken for granted the heroic sacri- 
fices of war, and had never suggested a 
little thing like a patriotic raise in salary. 
Harry, Louis and Morris Jackter had 
stepped up on Liberty's altar, leaving to 
young Reuben the burden. Do all the 
heroes wear uniforms? I ask you, now! 

Robert Harron is finally returning to 
the France whose uniforms he has worn 
so valiantly in Griffith's pictures. But 
this time the performance will be real, 
and his uniform will be that of his own 
United States. He is finishing another 
picture, by permission of the war de- 
partment. 

Among those who have gone to war 
from the Pathe institution's various sub- 
divisions, consider some specimens — but 
not all — from the Rolin studio. Herb 
Brodie is in the naval reserve, at San 
Pedro; J. B. Roach, brother of the presi- 
dent of the Rolin corporation, is with the 




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Sons of the Sun in Arms! 

(Concluded) 



47th Infantry, in France. Walter Adams, 
the acrobatic actor, has learned an acro- 
bat's proper place, and is in a Texas avia- 
tion camp. Clyde Hopkins, character 
actor, is with the Signal Corps in France. 
Lige Cromley, of the laboratory force, has 
entered a government gasoline motor 
school in Corvallis, Ore. Ray Kellerman, 
the studio purchasing agent, is with -the 
engineers, in France. Charles Stevenson, 
actor, is in training in the Camp Kearney 
infantry. Joe Matice is an aviation tim- 
ber searcher, detailed to Canada by the 
U. S., while Max Hamburger is an army 
cook. Truly, here is a diversified line of 
military crafts for one not over-large 
studio to put forth! Slackers — not at 
Rolin's! 



In Astra's large service flag we find 
stars representing Lieut. Howard Young, 
former scenario writer, and now serving 
as Zone Major overseeing the billeting 
arrangements for American troops in 
French towns; Lieut. Thomas Kesterton, 
Royal Flying Corps, France — but for- 
merly seen with Pearl White in her vari- 
ous stunts; Sergt. Spencer Bennett, for- 
merly assistant director of serials, now a 
dispatch-rider in France; Eddie Schneider, 
George Seitz's cameraman, now with the 
Signal Corps in France — and in passing, 
it may be remarked that Schneider's last 
letter described a casual visit to a Y. M. 
C. A. picture show near the front, in 
which he saw a photoplay that he had 
photographed himself. 



And there is also Gladys Hulette's lead- 
ing man and husband, William Parke, Jr., 
now an aviator with the Royal Flying 
Corps. 

Comedian Harold Lloyd has paused in 
a rising career to enlist in the navy. 

George Cheseboro of Astra-Pathe, is 
now a private, in the National Army. 

George Siegmann, though not of draft 
age, has gone into the army — perhaps to 
prove that his Prussian despicableness in 
"Hearts of the World" was all a business 
sham. 

Jack Pickford enlisted in the United 
States navy. 

Earle Metcalfe, former Lubin leading 
man, was another volunteer, now an offi- 
cer in France. 

So was Captain E. H. Calvert of 
Essanay. 



And where was the press-agent, when, 
only a few days ago, Mary Pickford's 
director, William D. Taylor, gave up his 
$25,000 a year and sailed from New 
York to enlist in the British army? 

Rejected by the army medical officers, 
Raymond Wells, talented Universal di- 
rector and Spanish War veteran, has gone 
into service at a dollar a year as organ- 
izer of camp amusements in general, in 
California. 

Helen Eddy, George Beban's young in- 
genue-lead, has dropped her highly-profit- 
able engagement to become a camp en- 
tertainer. 



Plays and Players 

(Concluded from page qi) 



JULIAN ELTINGE, an even bigger 
J drawing card on the screen than he 
was in vaudeville or musical comedy, has 
completed for release his first picture 
for his own producing company. It is 
a modern propaganda play called "Over 
the Rhine." Eltinge and Fred Balshofer, 
his director — who formerly guided the 
camera career of Harold Lockwood — 
have six stories lined up for production, 
including some of Eltinge's best known 
stage successes. You may have read 
about that wonderful home in Los 
Angeles, for which Julian Eltinge planned 
ten years, now completed. You're going 
to see exclusive photographs of it 
— four pages of 'em — in next month's 
Photoplay. 

TOM WALSH, Casting Director for the 
Thomas H. Ince Studios, has com- 
piled a curious list of names from the 
thousands which appear in his employ- 
ment books— names of persons who at 
some time or other are "atmosphere" in 
an Ince production. 

For example: We find that Harry 
Wanders, William Creeps, Charles Sings, 
James Robbs, William Stabbs, Anna 
Betts, and Alice Gambles. Only one man 
at the studio is Sober, and only two — and 
they are brothers — Drinkwater. Cupid's 
vocabulary is represented by Kiss, Love- 
well, Dearlove and Lovelock — although 



only one man confesses to being a Hugger. 
"One of our experts is William Kill," 
says Walsh, "and, singularly, his father is 
an undertaker. Cornelius Vestman is a 
tailor's son, and Herbert Paine, the 
brother of a dentist." 

THE tales sent out by the inspired Fox 
publicists have been harrowing, 
daring, romantic, or ridiculous, accord- 
ing; but the following, which happens to 
be true, was discounted as not having 
sufficient news value to interest the pub- 
lic. When Nallia Burrell, a member of 
the Sunshine comedy company, narrowly 
escaped death recently, when she was bit- 
ten and clawed about the face and shoul- 
ders by a lion, during the making of a 
picture at the Fox studio, the company 
simply gave out a nonchalant paragraph 
to the effect that a young woman had 
been slightly injured, but there was no 
news! It was to be a pullman scene, and 
a lion, excited, made for the berth occu- 
pied by Miss Burrell, leapt upon her, 
tearing her shoulders and face horribly. 

MAY ALLISON is coming back, but 
not with Harold Lockwood, as was 
first announced. She will be an inde- 
pendent star for Metro, and her first ve- 
hicle will be "Social Hypocrites," in which 
she will have the support of Henry Kol- 
ker and Joseph Kilgour. 



Every advertisement in PHOTOPLAY MAGAZINE is guaranteed. 



Photoplay Magazine — Advertising Section 



109 



Riddle Gawne 



(Continued from page 65) 

ing when Kathleen Harkless had arrived 
in Bozzam City, and they followed Gawne 
along the trail through sight of a loaded 
rifle. When the rider had reached a cer- 
tain spot, Paisley's finger bent against the 
trigger. There was a shot. Gawne fell 
heavily from the saddle. And, when a 
short time after two of the boys from the 
Diamond Bar arrived beside the wounded 
man, they found him roughly bandaged 
with rags torn from his shirt and Blanche 
Dillon was tenderly administering to him. 

That night Blanche, self-appointed as 
his nurse, was at his bedside. 

Sitting there, she heard voices below. 
They were followed by the sound of some- 
one coming up the stairs. Quickly 
Blanche's wits served her, and she set 
the scene. And then the door opened. 
She did not see it, but she heard, and she 
knew that it was Kathleen from the little 
gasp that escaped her lips as she gazed 
into the room. 

Gawne was lying in a half-sitting pos- 
ture, one arm about Blanche's neck. 
Blanche was caressing him fondly with 
her right hand, while her other arm was 
clasped tightly about him. Kathleen stood 
there, silent. She listened. Blanche was 
speaking, softly, slowly, but loud enough 
for her to hear. 

"I've always wanted to come back to 
you," she murmured. "Ever since that 
night we quarrelled in the dance-hall. 
You loved me before that. Don't you 
remember — I'll never forget!" She fin- 
ished speaking and bent still closer to 
him. And then, as if some look or word 
had called it forth, placed her cheek 
fondly against his and drew him tighter. 

There was a click and a little, thud- 
ding sound. Kathleen had closed the 
door. She was gone. Blanche smiled and 
sat upright gazing at the tight closed 
eyes of Gawne as he lay stretched, uncon- 
scious, in her arms. 

"Riddle" Gawne sat in a cushioned 
chair on the porch of the Diamond Bar 
ranch-house. A bandage still circled his 
head and he was physically weak from his 
confinement, but the throbbing, impatient 
impulses of his character were as strong 
as ever. He was improving rapidly, but 
not rapidly enough to satisfy him. 
Blanche was gone. When he had awak- 
ened from his unnatural sleep he had 
protested against her presence and had 
told her, as he expressed it, in "a talk 
without no kinks in it," and that night 
she had taken her belongings and moved 
back to the Bozzam ranch. But things 
were different, she found, when she re- 
turned. Just as she had sought to intrude 
into another's p'.ace her place in Bozzam's 
heart had been invaded, for the rustler 
had been attracted by Kathleen Harkless 
and was playing for her hand. He had 
gone so far as to learn that Colonel Hark- 
less' greatest fear was that she would dis- 
cover his true occupation — his connection 
with the rustlers — and, holding this over 
her father's head, he was attempting to 
force the Colonel to urge her to marry 
him. 

Kathleen had not been near Gawne. 
He had heard that she was seen occa- 
sionally with the rustler. And this was 
true. She did not enjoy his company, but 



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Photoplay Magazine — Advertising Section 

Riddle Gawne 

(Continued) 
she tolerated him, openly accepting his of the Bozzam men were already tearing 
constant attention to prove to Gawne down the trail toward the edge of town 



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that she did not care. He had sent her 
a note, and now he was waiting for her 
answer. 

Billings, the foreman of the Diamond 
Bar,' came up the steps of the porch. 

"She wouldn't read it," he said, reluct- 
antly, "Told me to tell you that your 
acquaintance has ended. She was just 
startin' out for a ride — with Bozzam." 

Gawne's face hardened. 

"Tell all the anti-Bozzam ranchers to 
oil up their guns. When I'm on my feet 
again we're goin' to stage a clean-up!" 

A few days later when Bozzam City 
awoke, shading blood-shot eyes from the 
searching light of morning. Gawne dashed 
determinedly into the sheriff's office and 
demanded Reb Butler's resignation. Later, 
when he came confidently back to get it, 
Butler was gone. But the sheriff's 
office was not vacant. Bozzam was there 
and Kathleen was with him. 

"You fool," muttered Bozzam, "do you 
think you can get away with this bluff?" 

"Your takin' Butler's end of this?" 
Gawne shot the question as a challenge. 



The others were clambering into their sad- 
dles. The ranch-house and the bunk- 
house were in flames. Gawne, who was 
directing activities, stopped long enough 
to lean over and listen to something a man 
was saying to him. It was Cass, the man 
whom, he recalled, he had freed directly 
after ousting Bozzam's sheriff. 

"You was white to me," he said excit- 
edly, "an' I owe you somethin'. Ride 

over to the Harkless place an' 

ride damned fast!" 

Gawne whirled his horse. He shouted 
to Billings who was dragging a huge bun- 
dle of brush to add to the flames. 

"You take charge of the fireworks. I'm 
leavin' now — but it's a one man job!" 
Jabbing his spurs into his horse, he 
dashed from the scene. 

At the Harkless ranch Gawne found 
that the warning had not been false. The 
old Colonel was on the ground, dying. 

"Bozzam took Katherine and 

Jane I lied to her, Gawjie, and 

told her you were bad Boz- 
zam made me he said he'd tell 



He drew his gun and levelled it at Boz- But I told her myself tonight, 



zam as he spoke. Then, smiling sarcasti- 
cally he drew his left gun, reversed it, 
and slid it across the table with the 
butt protruding over the edge. He placed 
it dangerously close to Bozzam's right 
hand, and then, his face savage, his eyes 
glanced at the clock. It pointed to one 
minute before twelve. He spoke. 

"When she strikes — shoot!" 

Bozzam seemed to cringe from the 
words. Kathleen watched them, fasci- 



and she she loves you. 

.... Then he ran away with her. .... 

Nigger Paisley took Jane the 

ridge trail Gawne " 

The sentence was broken by a gasp 
and Harkless slumped into unconscious- 
ness. Gawne looked at him a moment. 
He rushed from the room, bounded upon 
his horse, and swung at break-neck speed 
toward the ridge trail. 

Dawn found him high up on the jagged 



nated with horror. She saw that the test peaks of the range, the horse unfaltering 
had failed to shake Gawne — she was despite the crushing exhaustion of the 
almost irritated by his steadiness under chase throughout the night. And then, 



the nerve-racking pressure of the situa- 
tion. Her eyes bent toward Bozzam. 
She saw the ghastly fear on his coun- 
tenance; he was facing death — he knew 
it. There was contempt in her heart 
for him, and she could not hide the 
expression of it from her face; she had 
measured him and found him a coward. 
The clock was about to strike! Gawne's 
hand fell toward his holster. 

With a lightning-like lunge Kathleen 
sprang forward between the two men. 
Her hand fell on the gun on the table. 
The movement was simultaneous with 
Gawne's draw. He caught his hand in 
mid-air and stopped himself in time. The 
three stood rigid while the clock struck. 

"There isn't going to be any shooting," 
Kathleen announced nervously, and 
pushed the gun across the table to Gawne. 

"Well," he answered, as he slipped it 
back in the holster, "I guess our love has 
growed until just shootin' won't satisfy 
it." 

He walked across the room, with his 
back to the others and through the door. 

That night, calling together all the 
ranchmen who had suffered at the hands 
of Bozzam and his rustlers, and ordering 
all his Diamond Bar men to fall in with 
them, Gawne started on a wild ride 
toward the Bozzam ranch. Their purpose 
was to wipe out forever the curse of the 
man who had built and ruled Bozzam 
City. 

Soon after they reached it the quicker 



a few hours after daylight, as they 
were clambering up the rocky steepness 
of a peak that spiked the skies, the 
search was ended. Gawne saw the object 
of his mad ride, the little group sheltered 
by the crevices on the summit of the 
mountain. He saw them, and they saw 
him, almost the same moment. Bozzam 
shouted unintelligibly to Paisley. Paisley 
led the girls around the side of a huge 
boulder and did not return. Bozzam was 
crouched behind a rock, safe beyond the 
range of Gawne's sure aim. Gawne knew 
what was- coming; he saw the muzzle of 
Bozzam's rifle protrude over the rock; 
but he did not stop. Like a man sure of 
death and unafraid, anxious only to wreak 
his own vengeance before his life is taken, 
he rode ahead in the face of the fire. 
There was a shot. Gawne felt Meteor 
slink beneath him. He leapt to the 
ground, revolver in hand, and ran on foot. 
There was another shot. This time 
Gawne fell. When, a few minutes later, 
he came to himself, he found Bozzam 
standing over him, a leer on his face, hold- 
ing his rifle to his head. Gawne tried to 
move. He discovered that his left leg 
had been broken by the bullet. Suddenly 
he listened to Bozzam's jabbering — 

"I got you now, ain't I? I got you an' 
you're goin' to pay for all the nuisance 
you've been. 

"You hate me, don't you." He forced 
a laugh. "You hate — worse'n you hate 
anythin'. Bat you don't know why you 



Every advertisement In PHOTOPLAY MAGAZINE is guaranteed. 



Photoplay Magazine — Advertising Section 



III 



Riddle Gawne 

(Concluded) 

hate me — do you? Well I'll tell you. 
You hate me because — / killed your 
brother— -I'm Watt Hyat — that's why you 
hate me! An' now, by God, I'm goin' to 
kill you I" 

Gawne's features hardened as though 
they had been cast in a leaden mould. 

"There's more," Bozzam continued, 
playing his last card of torture, "the 
woman you love goes with me to Wil- 
liam's Cache, and Jane — Jane goes with 
Nigger Paisley." He paused a second. 
"Nigger, bring the girls. I'm goin' to let 
them watch their hero die." As he spoke 
he turned a little toward the direction 
of the rocks that hid the others from 
view. It was Gawne's chance. Before 
Bozzam could turn back Gawne's arms 
were about him. With a single jerk he 
turned the revolver, and, as he did so, 
Bozzam's finger pressed the trigger. Pais- 
ley, who at that moment came from his 
shelter in answer to Bozzam's call, 
stopped suddenly in his steps and fell to 
the ground. The bullet, discharged at ran- 
dom, had buried itself in his brain. Gawne 
knocked the revolver from Bozzam's 
hand and the struggle continued. Gawne's 
broken leg made him almost a dead weight, 
clinging to his foe. There was a steep 
bank at the side of the trail and Bozzam 
in his desperate struggle to free himself 
was dragging them closer to it. Sudden- 
ly, in one final, desperate attempt to shake 
off the grip that was ending his life, he 
stumbled and both men rolled over. 
Twenty feet below, on a ledge which sep- 
arated the foot of the bank from the spot 
at which it became a precipice of appar- 
ently bottomless depth, they stopped, still 
struggling. There were on their knees now, 
and Gawne was slowly, but steadily push- 
ing Bozzam back. His grip had not re- 
laxed. Finally.Bozzam weakened. Hisbody 
went limp, and Gawne let go. Bozzam 
swung for a moment and then fell back- 
ward. There was just a little cry as 
he snatched in the air at Gawne and 
disappeared over the edge. Gawne 
straightened on his knees and attempted 
to rise, but Kathleen and Jane were at. 
his side to aid him. With their arms 
about him he struggled to his feet and 
stood a moment smiling from one to the 
other. And then, as though in proof of 
the hatred that had vanished and the 
faith that had returned when mankind 
had redeemed itself, he kissed Jane — and 
then Kathleen. The latter was, perhaps. 
a trifle longer than the first and there 
were muffled words of love which reached 
only each other's ears. 

"What did he say," asked Kathleen as 
she grasped the hand that circled her 
waist, "that made you look so mad?" 

"He said that he was Hyat," Gawne 
answered simply. 

Her face went white, and then she 
flushed a moment. She could see it now, 
and the world seemed stretched out be- 
fore them offering a new life to the man 
she loved. His vengeance had been 
wreaked. "Watt Hyat, of Cheyenne?" 
she gasped. 

"No." answered Gawne and his eyes 
moved slowly toward the spot where the 
man had gone over, "Watt Hyat of 
hell!" 




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I 12 



Photoplay Magazine — Advertising Section 





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Out of a Clear Sky 

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to make an affidavit of the death of my 
niece," he stormed, "burned to death in 
your damnable American forest." 

Granny who, for all her years, had 
never before been addressed in such a 
tone, was about to descend on him with 
all her wrath, when she remembered 
Celeste, sitting on the door-step. A large 
sunbonnet shielded the girl's face and on 
that Granny based her hopes. Rising 
quickly, she took the baby from the cra- 
dle and carried it over to the startled girl. 

"Here, daughter," she said quietly, 
"take your baby into the sunshine so that 
this noisy gentleman may not awaken 
him," and without another word, she 
brought the pen and paper. 

Bob flashed a sudden glance into the 
eyes of Celeste who was sitting so that 
only he could see her face. Just then, 
Dyrek called to him. 

"Monsieur de Lawrence," he said, "will 
you sign now this affidavit of the death 
of my niece?" 

Bob's eyes still held those of the girl. 
"Shall I?" they seemed to ask, "it means 
forever." 

Celeste flushed crimson but her gaze 
was steadfast. Faint as the whisper was, 
he could see that her lips framed, "Sign." 

"Are you ready, monsieur," the Count 
stormed. "I am waiting. Will you sign?" 

Bob nodded, bowing elaborately. 

With the document in his hand, Dyrek 
passed toward the door so close to Celeste 
that his spurs touched her dress. For she 
had come in to listen the more closely. 
Dyrek mounted his horse in silence and 
rode out of the forest with Steve and Bob 
leading the way. When they reached the 
path to the town beyond, Steve indicated 
the route he was to take and Dyrek inso- 
lently threw him a coin. Steve, good- 
humoredly, tossed it back at him. 

"Chien!" Dyrek snarled at the woods- 
man, you American canaille are all alike." 

With one sudden movement, Steve 
leaped from his horse and dragged the for- 



eigner down with him. In an instant, the 
glory of Bersek and Krymn was writhing 
in the road under heavy blows. • 

When Bob returned to the cottage, he 
found Celeste seated on the bed beside 
Mamie evidently deep in an excited dis- 
cussion. Their heads were bent over an 
object on the bed between them and i* 
was only as Bob drew nearer that he saw 
it was a jewel box, overflowing with 
precious stones. Celeste smiled up at him, 
the jewels slipping through her fingers. 

"They are the family treasures of Ber- 
sek and Krymn," she said gaily. "They are 
to be sold to purchase another house for 
Mamie here, whose cottage was burned." 

Bob broke into a laugh. "Sweet Mamie 
will be satisfied with a house worth one 
of them," he told her dryly. "The invoice 
here says they are worth more than five 
million francs." 

"We will buy the new house with one 
of them and send the rest back to feed 
the starving children of Belgium. And so," 
Celeste cried with a merry gesture of re- 
linquishment, "departs the last possession 
of the Countess of Bersek and Krymn." 

Just after twilight, two figures stood in 
the shadow of the honeysuckle watching 
the rising moon. 

"Once you told me, 'Love is what pipes 
from the woods in the full of the moon,' " 
Celeste said. "Was it like this that you 
meant it? I understand a little now." 

Bob looked steadily down at her with a 
gaze of infinite tenderness. "Ah, but you 
said then, T do not care to understand.' 
Do you care now, Celeste?" 

She did not answer but raised her dark 
eyes to his in a look which was half a 
child's and half a woman. Bob uttered a 
triumphant little cry and instantly she 
was in his arms, at first tense with sur- 
prise and then relaxed in an ecstasy of 
abandonment. After a long silence — 

"You know now, Celeste?" Bob said 
breaking the silence with a half-whisper. 

"Yes," said Celeste. "Now I know." 



The Dominant Race 

(Concluded from page 48) 



Of directors — just to name a sample 
of a numerous collection, and then hurry 
along — "Mickey" Neilan. 

Photoplay comedy, like photoplay 
drama, claims its ruling share. Nowhere 
on earth could the biggest figure in sun- 
written laughter be taken for anything 
but the Celt he is. The reference is 
to Mack Sennett. Charlie Murray, his 
ablest assistant, graduated direct from 
the Irish comedians, Murray and Mack. 

The gentlest, most whimsical, most 
elusive of the screen's ingenues is the 
Irish Mae Marsh. Her art — and it is dis- 
tinctive — has an ancestral groundwork. 

I dare to say that a majority of the 
screen's pretty women are Irish. Among 
these are Texas Guinan, Dorothy Dalton, 
Molly Malone, Lois Meredith, Marjorie 
Rambeau, Mabel Normand, Ruth Roland, 
Belle Bennett, Marguerite Marsh, Doro- 
thy Kelly, Enid Markey, Mary Charle- 
son, Bessie Love and Billie Burke. 

The prize female dynamo of two 

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worlds, Geraldine Farrar, a hurricane in 
the opera and a cyclone in the studio, is 
Irish. 

The quietest, quaintest girls of the 
screen — by the way of contrast — are 
Irish, too. The Gishes. 

Do you want more Irish men and 
women? 

Very well — consider Francis Ford, 
Edward Langford, Tom Mix, J. W. John- 
ston, Eddie Lyons, Robert Elliott, Pat- 
rick Calhoun, Robert Harron, Ralph 
Kellard, George Larkin, Reggie Morris, 
Pat Rooney, Margaret Thompson, Leo 
Maloney, Guy Oliver, Alice Howell, Frank 
Kingsley, Raymond McKee, Jack Mul- 
hall, Charlie Ray, Lee Moran, Jack Mere- 
dith, Valentine Grant. 

This is not intended as the complete 
Erineous list. Probably you can think 
of a lot more. 

It's just to set you wondering if, after 
all, St. Patrick didn't shoot those original 
Irish snakes with a picture camera. 



Photoplay Magazine — Advertising Section 



113 



STUDIO DIRECTORY 

For the convenience of our readers who 
may desire the addresses of film com- 
panies we give the principal ones below. 
The first is the business office ; (s) indi- 
cates a studio ; in some cases both are 
at one address. 

American Film Mfg. Co., 6227 Broad- 
way, Chicago; Santa Barbara, Cal. (s). 

Abtcsaft Pictures Corp., 485 Fifth 
Avenue. New York City; 516 W. 54th St.. 
New York City (s) ; Fort Lee, N. J. (s) ; 
Hollywood, Cal. (s). 

Balboa Amusement Producing Co., 
Long Beach, Cal. (s). 

Brenon, Herbert, Prod., 509 Fifth Ave- 
nue, New York City ; Hudson Heights, N. 
J. (s). 

Christie Film Corp., Sunset Blvd. and 
Gower St., Los Angeles, Cal. 

Essanat Film Mfg. Co., 1333 Argyle 
St., Chicago, (s). 

Famous Players Film Co., 485 Fifth 
Ave., New York City ; 128 \V. 56th St., 
New York City. (s). 

Fox Film Corp., 130 W. 46th St., New 
York City ; 1401 Western Ave., Los Angeles 
(s) ; Fort Lee, N. J. (s). 

Goldwtn Film Corp., 16 E. 42nd St.. 
New York City; Ft. Lee, N. J. (s). 

Horsi.ey Studio, Main and Washing- 
ton, Los Angeles. 

Thomas Incb Studio, Culver City, Cal. 

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-Advertising Section 

The Road to France 

(Continued from page 40) 



without seeing Helen again. So he went 
to the big house on the hill, and bribed 
a servant to take word secretly to her 
mistress that he was waiting for her in 
the garden. She came to him and he 
told her his plans. Also, he was deter- 
mined to investigate his marriage thor- 
oughly. Winter was with him and Mol- 
lie the night of the affair, and Winter 
was a thorough scoundrel. There was 
a chance that he had been the victim 
of a plot. 

As they sat talking in the summer 
house, two prowlers passed them in the 
deep shadows, identified them, and went 
on to the house. They were Winter and 
a ratlike criminal he employed when in 
desperate straits. Today he had received 
from his German master a message of 
dire portent. The news of the launch- 
ing of the Victory had not been music 
to the ears of them who had been fur- 
nishing Winter with money, and a tele- 
gram ordered him to come to New York 
for a conference. Winter was convinced 
that he would never leave that conference 
alive. He needed money badly, imme- 
diately. So he took the human rat, 
Burns, along, and decided to make Bemis 
toe the mark. Leaving Burns hiding in 
the shrubbery, Winter went into the house 
and found Bemis, still angry from his dis- 
covery of Tom, in no mood for temporiz- 
ing. Besides, the Victory was launched, 
and Bemis no longer feared the schemer. 

"Well, what do you want?" he growled 
at the visitor. 

"What do you suppose I want?" Win- 
ter growled back. "I've been stalling 
along, making my plans. Now I'm ready. 
I can make a signal that in ten seconds 
will result in your whole plant, the Vic- 
tory and all, being blown to hell! Are 
you going to come through, or not?" 

"N-o-t — not!" Bemis fairly screamed 
at him. "You lie when you say that you 
have the plant mined. Do you suppose 
I'm a fool? Don't you think we have 
been watching you? Get out of here, 
and do your worst. Get!" 

Winter retreated. He was bewildered. 
How much did Bemis know? Wouldn't 
it be better to go back and — he shud- 
dered. He was a coward. He went to 
the spot where he had left Burns, but the 
little rat was not there. So Burns had 
deserted him too. He looked about him, 
and waited a few moments. 

Suddenly there was a sound of a man 
running across the grass, and Burns was 
beside him, panting. 

"What is it?" Winter whispered. 

"I wuz crackin' de safe in de ol' man's 
office, an' he comes in, an' I had tuh croak 
im. 

"You've murdered Bemis?" 

"I had tuh, I tell yuh." 

"It was in the office — on the ground 
floor?" 

"Yah. De room wid de typewriter in." 

"I didn't hear any noise." 

"Sure yoh didn't. Dis tool don't make 
no noise," and, he produced a knife, 
which he proceeded to wipe on the grass. 

"Come on with me. I've got an idea." 
Winter whispered, and together they crept 
back to the open window of the room 
that Bemis used for his office at home. 



Cautiously they climbed in, and by the 
light of Burns' pocket flash, propped the 
old man's body in the chair in front of 
the typewriter. Then Winter put a sheet 
of paper in the machine, carefully putting 
it in at an angle, and ticked off the words, 

''torn whjtney hulled mw becaise i — " 

With a keen sense of realism Winter 
did not end the sentence. This mis- 
spelled fragment would be sufficient, he 
believed to clear himself and his confed- 
erate, and send Tom Whitney to the 
chair. For Whitney was in the grounds, 
as undoubtedly the servants knew. So 
the two climbed out of the window and 
hurried away, to let events take their 
own course. 

It was growing late, and Tom. said 
goodbye. Helen stood watching him as 
he strode away, his every step .betokening 
fresh determination to win the battle of 
life. 

:£ ^: ■% $: % 

It was all very well for Helen to tell 
the police that Tom could not have been 
the murderer of her father, since he was 
with her at the time. One ounce of evi- 
dence of guilt is worth more than a pound 
of evidence of innocence to the average 
detective. So while the police were im- 
pressed with Helen's statement, they 
clung tenaciously to the apparent accusa- 
tion by the murdered man as he was 
dying, for without this they had no clue, 
and that is unendurable. 

Helen, however, had her own suspic- 
ions, but these she did not want to state 
openly until she had more reason for 
them. She had always regarded Winter 
as a sinister figure, and while she did not 
believe him capable of murder, she be- 
lieved that this was some development of 
his plotting, of which her father had told 
her something. She needed help to work 
out her theory, and finally persuaded the 
police to release Tom for twenty-four 
hours, upon her promise that if she had 
not found the guilty person by that time 
he would return. As the Bemis family 
almost owned the little town, she man- 
aged to have her way. 

Together she and Tom worked out the 
plan of campaign, and she sent word for 
Winter to come to see her, as she wanted 
his advice on important business. It 
had not occurred to the unscrupulous plot- 
ter to continue upon the daughter the 
efforts which had failed with the father, 
and he quickly came in response to the 
summons. 

Helen told him she knew he had great 
influence with the men in the shipyard, 
and she wanted him to help her, to be her 
adviser. This was an alluring proposi- 
tion, but Winter was afraid to stay in the 
town. He wanted to get away, and he 
needed money at once. While Tom was 
suspected of the killing, there was danger, 
and there was danger too from the Ger- 
man spy master. So while pretending to 
accept the offer, Winter said he must have 
a large sum of money at once, "as a re- 
1 tainer" he explained. 

"I have nothing but my mother's 
jewels, and I have no right to give those 
away," Helen said. "But if you will come 
to the house tonight we can arrange it, 



Every advertisement in PHOTOPLAY MAGAZINE is guaranteed. 



Photoplay Magazine — Advertising Section 



The Road to France 



(Concluded) 



and 



so that it will seem like a robbery. 
it will be all right.'' 

Nothing attracts a plotter like a plot. 
The dishonesty of the scheme lured Win- 
ter, and that evening he was on hand 
in anticipation of a rich haul. 

Helen showed him the jewel cases, and 
his beady eyes flashed. 

"You must tie me to a chair," Helen 
said. 

Winter did so, and as he was about 
to start for the door he heard a sound 
in the adjoining room. Startled, he 
turned toward the window, and stumbled 
over something in his way. Looking 
down he discovered the body of Tom 
Whitney, his shirt stained with blood. 
Before he had time to move a policeman 
had come through the window and seized 
him. 

"He killed Tom Whitney and was rob- 
bing me," Helen screamed. 

Winter stared at her, too astonished 
to defend himself. At last he found 
words to ask her what it meant. The 
police untied Helen, and she asked them 
to allow her a few words in private with 
Winter. They drew aside, and she said 
to him, in a low voice. 

"You know the truth about my father's 
murder. Unless you tell it, I will swear 
that you killed Tom Whitney while he 
was defending me from you." 

Winter paused only a few seconds. He 
saw that he had placed himself in a 
trap, and that he had been caught red- 
handed in murder and robbery. Besides 
he didn't kill Bemis, and he didn't care 
much what became of Burns. For once 
his interests were best served by the 
truth. So the police were called back to 
hear the account of the Bemis murder. 
As he finished his recital, the dead body 
on the floor came to its feet, and Winter 
looked up at his nemesis, Tom Whitney, 
not dead, but very much alive. 

"Y-you're n-not d-dead," Winter stam- 
mered. 

"No," Tom replied, "and I'm not going 
to die until you' tell me the truth about 
my marriage. I'm going to have the 
truth if I have to choke it out of you." 

At first Winter was reluctant to speak, 
but when Tom promised not to bring any 
charge against him, he admitted that the 
marriage was a fake, and that Mollie was 
his own wife. He had intended using her 
merely as bait, but she had become 
greedy and urged that they try to get pos- 
session of the entire Whitney fortune 
through this marriage. 



The Bemis home stood on a hill over- 
looking the shipyards. Before the next 
ship was launched, Tom and Helen stood 
on a little bridge one evening and looked 
over the busy scene, where the men, now 
inspired by Tom's energy and example, 
worked at record-breaking speed to win 
the Government's honor flag for their 
plant. And they had a little mock quar- 
rel, as newly married couples will, each 
trying to give the other all the credit for 
the happiness they had discovered, and 
for the splendid work they were doing 
together for the cause of the Nation. 




115 

111 



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Photoplay Magazine — Advertising Section 



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What About Screen Comedy? 

(Continued from page 51) 



When he discovered this the "situation" 
comedy had arrived. It carried with it a 
great line of similar discoveries. For in- 
stance this: Just hitting a man with a 
pie isn't funny. To intend to hit your 
husband with a pie; miss him and hit 
the parish priest by mistake; that's a 
real joke. 

Back of Mr. Sennett's discovery was 
a profound truth that applies chiefly to 
the American national character. 

Everybody in America wants to do 
something to a policeman. Just as when 
we were little boys we liked to see how 
long we dared stay on the track with a 
train coming. We are all afraid of him. 
It's no use denying it. The President of 
the United States walks a little straighter 
and puts on a prunes-and-prisms look, I 
have no doubt, when he passes a copper 
on the beat. No one is able to forego 
a feeling of awe when this kingly figure 
passes by slowly swinging his mighty 
billy. 

The producers began to see that the 
joke lay in the tumble of this fearful dig- 
nity rather than in a cop doing monkey 
shines. 

With this discovery the simple childish 
horse-play of the earlier days of motion 
pictures gave up the ghost with a sob. 
Anyone can see that when Sennett turned 
out the first dignified policeman, motion 
picture comedies made a mighty leap from 
vaudeville and variety into the realms of 
farcical drama. 

Farce comedy on the screen was a good 
deal like farce comedy on the stage. To 
my mind, this was the least appealing 
stage of comedy in either phase — on the 
stage or screen. 

After all, farce complications are rather 
tedious. You know when you hear about 
the rich old uncle that somebody is go- 
ing to mistake him for the butler and 
hit him with a mop; you know when 
somebody loses a baby that five misfit 
babies are due to turn up at the wrong 
time. It is all forced, unnatural and un- 
convincing. Motion pictures took the 
whole works; dragoons, engineers and 
supply train. The picture farces had the 
lost babies; the rich old uncles mistaken 
for servants; the parsons arrested for bur- 
glary; the naughty husbands escaping de- 
tection. 

Now — we may as well be frank about 
it — this vein is exhausted. 

You must remember that the screen 
is a voracious monster. One of the great 
producers of pictures has pointed out that 
motion pictures has in ten years gone 
through the same evolution that required 
a thousand years for the spoken drama. 

This is, of course, due to the rate at 
which they are turned out. I don't sup- 
pose, for instance, there is a single mod- 
ern director who has not actually made 
more plays than Shakespeare and Mar- 
lowe and Scribe ever heard of. 

It naturally follows that the screen 
comedy producer galloped through the 
whole range of farce comedy — through 
five hundred years of funny plays in a 
brief span of three or four. He has eaten 
the heart out of them all. I feel safe 
in saying that there isn't a single com- 



edy situation ever shown on the stage 
since the days of ancient Greece that has 
not been worked over and over and over 
in the pictures. 

On the stage these farces would have 
lasted for years. About once a year 
Hickville was glad to assemble in the 
Odd Fellows Hall and cackle over these 
worn complications. But when the movies 
came, Hickville had a show to go to 
every night. So even Hickville yawned. 

Every possible twist and complication 
has been tried. Not only tried but worn 
threadbare. 

And now they're hungry again. 

The old machine is beginning to knock 
pretty hard for want of water and fuel. 
A new box of tricks is about to be opened 
and it does not require the services of a 
seventh son of a seventh son to see this 
next box of tricks. 

The horse-play stage has passed; the 
drama of childish impossibilities has 
passed; the drama of next-to-impossible 
complications has come and is on its way 
out. 

It goes without saying that the phase 
to follow is the drama of possibility — the 
drama of reality. There is really nothing 
funny about a man riding straddle of the 
moon; but there is something funny about 
the man who forgot to bring home the 
carving knife the night the rich relatives 
came to dinner. 

In other words, comedy no longer lurks 
in that which couldn't happen; it lies in 
that which could and does happen. 

I saw a very striking and interesting 
illustration of this in two comedies re- 
cently produced. 

In both plays the same gag was used. It 
was a trick taxi-cab out of which many 
people climbed. In the one case a whole 
wedding party — bride, groom, bride's 
maids and mother-in-law came solemnly 
trooping out of one small cab when it 
drew up at the station. In the other 
comedy, a whole regiment of revenue of- 
ficers disembarked from, the one small 
cab. The first was the funny one. The 
second one started to be funny, but the 
laugh oozed away before the cab was 
emptied. 

As I figured it, this was the reason why 
the first gag was funny but the second 
one wasn't. 

The joke consisted of the mental pic- 
ture you had of the way the passengers 
must have looked as they were piled up 
inside the cab. The instant that one rev- 
enue officer more than could possibly have 
been piled into the cab crawled out, the 
joke died. In other words, the gag de- 
pended unconsciously uoon the imagina- 
tion of the spectator. When the director 
strained too hard upon the possibilities, 
the imagination declined to go on further 
and the gag failed. 

A very strong hint of the new comedy 
that's to come can be found in the plays 
of Mr. and Mrs. Sidney Drew. 

They touch upon life as it really is. 
They touch upon universal experience. 
They open up lanes of real satire. Their 
comedies might have happened to you 
and to me — to every one. 

Not that I think much of the Drew 



Every advertisement In PHOTOPLAY MAGAZINE 19 guaranteed. 



Photoplay Magazine — Advertising Section 



What About Screen Comedy? 



( Concluded) 



comedies. To tell the truth, they are not 
really motion picture plays. They are 
subtitles agreeably decorated with the 
pleasant faces of Mr. and Mrs. Drew. 
Mr. Drew stands up and frowns and sits 
down and smiles. Mrs. Drew looks an- 
noyed or pleased or a little bit sad. 
The whole story is told in the words that 
separate the meaningless pictures. Never- 
theless they are the pioneers of the new 
idea. 

But the "Drew idea" will not be 
snatched up with the easy avidity with 
which vaudeville gags were kidnapped. _ 

To make jokes that are true to life 
presupposes a knowledge of life — a sym- 
pathetic understanding that is given to 
few of us. 

When we step into this next phase of 
comedy we find that the lane narrows. 

We depart from Zim of the comic 
tramps and we approach the throne of 
Charles Dickens. 

A great critic has written that Dickens 
is only enjoyable to those who like their 
"humor cut thick and their pathos laid 
on in slabs." Still he dealt in things as 
they are. 

The next great comedy director will be 
found putting on real characters — char- 
acters carved out of real life, characters 
like Mr. Micawber. It will not be enough 
to put on a policeman and jerk his feet 
out from under him. The policeman 
must be first of all a human character 
with entertaining peculiarities. He will 
not be funny because he is a policeman 
but because he is a personality differing 
from all other personalities. His police- 
manship will be entirely incidental. 

This war may work important changes 
in our humor. I shouldn't be surprised 
if the contact of millions of American 
soldier boys with the older civilization of 
Europe would bring us a taste of real 
satire. 

At present we are not ready for it. 

American humor is not satirical. Satire 
is old; finished; subtle; experienced; 
sophisticated. Our humor has every char- 
acteristic of the child — of raw youth. It 
is cruel; we like to see the umpire hit 
at a baseball game; we want to see the 
solemn policeman badly handled in the 
farce. 

The French have a style of satire of 
which I have seen one brilliant example 
in the films. A man was found trying 
to commit suicide by hanging himself in 
a forest. The peasant who found him 
couldn't legally cut him down so he ran 
to tell the gendarme; the gendarme ran 
out; took a look at him; then ran to 
summon the corporal; the corporal ran 
out to take a look; then he ran back to 
tell the sergeant; the sergeant took a look 
and ran to get the mayor of the town. 
The mayor ran out to take a look; then 
ran back to put on his official sash and 
chapeau before cutting down the man try- 



ing to commit suicide. It was delicious 
but fell flat. The American audience 
didn't understand the red tape at which 
the satire was directed. 

We will have this satire some day but 
I'm afraid it will be a long time coming; 
that will be the finishing touch to our 
humor. 

When the American satirical comedy 
arrives, it may be piloted into the harbor 
by a very small girlish hand — by the hand 
of Miss Anita Loos. 

Anyone who attempts to give an ac- 
count of American comedy without first 
doffing his hat to this girl, at once counts 
himself out and shows that he knows 
nothing of what he is trying to talk. 

In the course of my life, I have come 
in contact with two transcendant, flash- 
ing intellects; one was Gen. Homer Lea, 
the military strategist, the other, Anita 
Loos. To my mind, she is by all odds 
the finest intellect thus far to touch the 
business of making motion pictures. 

In some of her Douglas Fairbanks pic- 
tures, she dragged this very crude art to 
a height that no one else has reached. 

To my mind, the highest point that 
American satire has thus far achieved 
— either in literature or in drama — was 
this girl's play, "American Aristocracy." 

I fear that Mr. Fairbanks did not quite 
realize what a jewel he possessed. 

Since parting company from Miss Loos, 
his comedies have lost the magic touch. 
His plays now consist in jumping off 
roofs and climbing porches. They are 
no longer satires. They are just like all 
the other plays. 

In the course of her Fairbanks plays, 
however, Miss Loos made this priceless 
contribution to the screen: 

She showed in what tone of voice satire 
can be written and played to be convinc- 
ing to the American public. 

There will be, of course, amusing little 
side lights and side excursions into humor. 
There will be occasional girl shows — the 
Follies transferred to the screen. On the 
screen the T. B. M. charmers will lose 
the extremely dubious advantage of song 
and will gain in offering more for the 
girls to do. Whereas on the stage they 
can only canter around and dance, on the 
screen they can play baseball; swim in 
real water. 

The real pull of this kind of a girl show 
lies in the spectacle of free and glorious 
youth — youth that has deserted most of 
us. It is a wistful sort of humor. It is 
only a flavor and a perfume. It can 
never be an entree. 

So, to make a long story a little bit 
shorter, let us stop here and with this: 
motion picture comedy is on the threshold 
of the most lasting and the greatest phase 
of its experience. But it is a threshold 
that few directors will cross. 

We are looking down into the promised 
land. Only a few will ever get there. 



W 



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movies have found one explanation. The American flag! 



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Questions and Answers 

{.Continued from page 101) 
L. V. P. W., Canada. — You Canucks are 
faithful. And we don't mind saying we're 
always glad to see the Canadian postmark. 
You think Carol Holloway is the sweetest 
girl on the screen. Well, we don't know 
about that, but Carol is awful sweet. And 
you want a picture of Carol and William 
Duncan in the Magazine. We'll speak to 
the editor about it. Pauline Curley was the 
little blonde with Harold Lockwood in "The 
Square Deceiver." Miss Curley at this 
writing is with the Douglas Fairbanks com- 
pany. 



M. M. B., M. B., Kolyoke, Mass.— Bill 
Hart's contract has a year more to run. 
Mary's hair is naturally curly. Jane Lee is 
five; Katherine is seven. Thelma Solter is 
about ten. Douglas Fairbanks is not going 
to leave the movies. Those are George 
Walsh's own teeth. No, we don't think you 
are very clever. 



Violet Dear, N. Y.— Frank Mayo is play- 
ing right along for World, usually opposite 
June Elvidge. He was born in N. Y. in 1886. 
Believe he sends his pictures. Write to him 
care World studios, Fort Lee, N. J. Mayo 
is married. You say, "They all seem to me 
like some gods who live in a land of their 
own. Movie-land — something like Wonder- 
land, that Alice had to go through the mir- 
ror to reach" — or follow the bunny down the 
hole. Ah, Violet, every little Alice has to go 
through more than the mirror to get there. 
And besides, there's a certain amount of hard 
work connected with a screen career. If 
that's your idea of Movie-land, Violet, you'd 
better stay at home. But you'd better, any- 
way. 



B. E. B., Philadelphia, Pa. — And still 
they come ! Conway Tearle, so far as we 
know, has never had a "secret sorrow." Did 
you read "A Merry Hamlet" in September 
Photoplay? That answers most of your 
questions about him. He was recently mar- 
ried to Adele Rowland. Don't know why be 
hasn't been starred. 



Every 



m Name 

Address -- 

.1 C. P. 386 - 

advertisement in PHOTOPLAY MAGAZINE is guaranteed 



H. R., Newark, N. J. — Elmo Lincoln and 
E. K. Lincoln are not the same person. 
Elmo Lincoln played "Tarzan" in "Tarzan 
of the Apes." He was in "Judith of 
Bethulia" for Biograph; "The Birth of a 
Nation," "Intolerance," "Aladdin" (Fox), 
and may be reached care National Film 
Corp., L. A., Cal. E. K. Lincoln is now with 
Leonce Perrett, appearing in a new propa- 
ganda film, "Lafayette, We Come!" Harold 
Lockwood, Metro, Hollywood. Mary Mac- 
Alister is not with any company at present. 



B. S. W., III. — Creighton Hale's latest was 
"Waifs," with Gladys Hulette for Pathe. 
Address him care that studio. HL real 
name is Patrick Fitzgerald. He is married. 
But he will send his picture. Richard Bar'.! - 
elmess is not married. We will be very glad 
to hear from you any time. 



A. B., Montreal. — We thought everyone 
would recognize Mary Pickford as the subject 
of that picture in the art section for April. 
Sorry, but your other questions are against 
the rules. Men think women are the worst 
gossips, but women are sure that men are. 

Marion, Catawassa, Pa. — May Allison's 
address is Metro Studios, Hollywood, Cal. 
And you aren't intruding at all, Marion. 
Haven't we heard from you before? 

R. E. W., Brooklyn, N. Y. — Kenneth Har- 
lan in "The Price of a Good Time." He has 
been drafted. You want a picture of Hart 
Hoxie, also a story. Many thanks for your 
good wishes. 



Photoplay Magazine — Advertising Section 

Questions and Answers 



119 



Pearl Galnites, Rockford, III. 
have said before, we cannot give anyone ad- 
vice about becoming a motion picture player. 
On the other hand we can hardly let a 
query like yours go unanswered. You see, 
Pearl, there are so many experienced players 
on the waiting lists, and I take it that you 
have had no professional training whatever. 
So I'd think it over seriously before leaving 
home. If you really want our advice, it's — 
don't do it. Write to us again and tell us 
all about it. 



J. F. Lynn, Brooklyn, N. Y. — You like 
Tom Meighan. Well, Tom is with Famous 
Players-Lasky and may be addressed care 
Famous in N. Y. or Lasky in Hollywood; 
he is married to Frances Ring, and we be- 
lieve he'll send you his picture. But Tom 
says he isn't an actor, and he hates to have 
his pictures taken. Suppose you'll like him 
all the better now, won't you? You're 
right — the Editor invites criticisms and sug- 
gestions; he says he's running this Magazine 
to please you people. So jump right in. 



(Continued) 

As we Polly of America, Fort Oglethorpe, Ga. 
— Mrs. Taylor Holmes was Edna Phillips; 
she is well known on screen and stage. She 
appeared with her husband in "A Pair of 
Sixes," the photoplay version. Jack Pick- 
ford can be addressed at the Lambs Club, 
N. Y. He is in the Navy. Charlie Chaplin 
is twenty-eight. He is not married to Edna 
Purviance; in fact, Charles is not and has 
never been married. His new picture is 
called "Shoulder Arms!" His first under the 
million-dollar contract was "A Dog's Life." 
Mutt, the dog, is dead. That was a mistake 
about Wallace Reid; it was a man who im- 
personated him at Camp Lewis. Fairbanks 
did not go to South America after all. Your 
other question is against the rules. 



W. B., Searcy, Ark. — Richard Barthelmess 
is twenty-three. He was born in New York 
City and had a stage career during which 
he played five years in stock. Write to him 
for a picture 126 W. 47th St., N. Y. Not 
married. Theda sends her pictures to all 
who ask, we believe. Miss Frederick may 
be reached at the Goldwyn studios at Ft. 
Lee, N. J. The picture you enclose is of 
Jack Mulhall. He was with Universal; ap- 
peared in "Wild Youth" for Paramount; 
may now be reached care Triangle at Culver 
City, Cal. Mulhall is married. 



B. H.,* Wells, Minn. — Olive Thomas has 
light hair and blue eyes. Mary Miles Min- 
ter, golden hair and blue eyes. Doris Kenyon 
has brown hair, with gray eyes. She is 
twenty-one years old and unmarried. Little 
Miss Lee is brown-eyed and her hair is a 
burnished brown. She is not married. Eileen 
Percy has light hair and blue eyes. Wm. 
Desmond is dark, with blue eyes. 



Little Princess, Tuscumbia, Ala. — It is 
Julian Eltinge who impersonates women. 
He has his own company now; his first 
release is "Over the Rhine." June Elvidge 
is a star for the World Film Corp., at Ft. 
Lee, N. J. Billie Burke and Pearl White 
have auburn hair. Sylvia Breamer with 
William Hart in "The Narrow Trail." Miss 
Breamer plays in Cecil DeMille's "We Can't 
Have Everything," and J. Stuart Blackton's 
"Missing" and "The Common Cause." Miss 
Clark is really thirty-three. Tony Moreno 
is not married. 



Mrs. H. G. A., Pontiac, Mich. — Photo- 
play receives hundreds of letters like yours 
every day, but we are afraid we cannot be 
of any assistance to you in obtaining em- 
ployment. If you are convinced that you 
have only to be given a chance to succeed, 
there would be no harm in writing to a 
studio and submitting photographs. Further 
than this we cannot advise you. 



Norman Cleary, Mosman, Sydney, Aus. 
— Olive Thomas is your favorite. There is 
a "Grand Crossing Impression" of her in 
this issue. Write to her care Triangle at 
Culver City, Cal., for her picture. She has 
a Stutz car, and we believe her favorite color 
is blue. Bill Hart's present contract has a 
year to run. Bill said he would retire at 
the end of that time, but we'll wait and see. 
Here are some of Hart's Triangle pictures: 
"The Patriot," "The Apostle of Vengeance," 
"The Return of Draw Egan," "Hell's 
Hinges." His latest for Artcraft is "Riddle 
Gawn." Write again, won't you? 



The Mystic Rose, Middlebush, N. J. — 
Yours was very good. You think Nazimova 
is the greatest actress on the screen. And 
you want to see Pearl White in features. So 
would we. That's the best way after all, 
isn't it? — to be your own critic. Pearl has 
always been with Pathe except for a brief 
period with the Crystal Company in the 
good old days. Well, the "Perils of Pauline" 
and "Exploits of Elaine" are still remem- 
bered, while "The Million Dollar Mystery" 
and "The Adventures of Kathlyn" have not 
been forgotten. We can't attempt to give 
you a list of all the blondes on the screen. 
So Mr. Quirk answered your letter. Write 
again. We like to hear from you. You are 
a real enthusiast, in the right way. 



Virginia Belle, Indianapolis. — Douglas 
Fairbanks was born in 1883, so figure it out 
for yourself. Alice Brady is not married; 
she is about twenty-three. 



Josephine R., N. Y. C. — Write to them 
at the following addresses : William Farnum, 
Fox studios, Hollywood, Cal. ; Harold Lock- 
wood, Metro, Hollywood, Cal.; F. X. Bush- 
man, Metro, N. Y. ; Doris Kenyon, De Luxe 
Pictures, Inc., Wharton studios, Ithaca, 
N. Y.; Ruth Roland, Pathe, Hollywood, 
Cal. Henry Gsell is not in pictures at the 
present time but you might write him care 
Pathe at Jersey City. Wm. Farnum is forty- 
two. You are very welcome; write again. 
It is more pleasant to be beautiful than to 
be good, but it is better to be good than to 
be ugly. 



I Bored the Answer Man. — You're 
wrong; you didn't. Wish we had more let- 
ters like yours. You say, "There's only one 
thing wrong with your department, and 
that is that it keeps me up too late at night 
reading it." Wish we could print your let- 
ter. You think we are "about 28 years old 
(because you use such modern slang) ; and 
you wear real stylish clothes, tight fit at 
the waist and everything. And you're a 
college man and of fairly wealthy people. 
And you are just working as Answer Man 
for amusement and some extra pocket 
money." That's right, Vera; I'se jes' work- 
in* as Answer Man for amusement; but I 
don't wear no real stylish clothes, honey. 
Tight fit at the waist and everything — no, 
sun! James R. Quirk, whom you saw in 
"The Screen Telegram," is vice-president and 
general manager of Photoplay ; and you are 
entirely right in everything you say about 
him. We told him what you said about 
Photoplay and he was very much pleased. 
Now for your questions. Carol Halloway is 
not married, so far as we know. You want 
an interview with her? Mary Pickford's 
and Gladys Brockwell's fathers are not liv- 
ing. Jack Pickford is in the Navy. Address 
June Elvidge care World, Ft. Lee, N. J. 
Your writing is all right. Would like to hear 
from you again. 



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Whan you write to advertisers please mention PHOTOPLAY MAGAZINE. 



120 



Photopla*y Magazine — Advertising Section 



All that Can Be Taught on 

PHOTOPLAY 
WRITING 



Hints On 
Photoplay Writing 

By C»pt. Leslie T: Peacocke ... 



Photoplay 'Publishing Company 



PRICE— FIFTY CENTS 

Captain Leslie T. Peacocke's remarkably pop- 
ular book on the craftsmanship of scenario 
writing. It is a complete and authoritative 
treatise on this new and lucrative art. This book 
teaches everything that can be taught on the subject. 

Written by a master craftsman of many years' 
experience in studios. It contains chapters on con- 
struction, form, titles, captions, detailing of action; 
also a model scenario from a library of scripts which 
have seen successful production. 

This book will be of especial value to all who 
contemplate scenario writing, and who do not know 
scenario form. In other words, it will be invaluable 
to the man or woman who has a good story, but who 
doesn't know how to put it together. 

The price is 50c, including postage charges. 
Send for it today. 

Photoplay Publishing Company 

•Dept. 10P 350 North Clark Street CHICAGO 



Questions and Answers 

(Continued) 

J. M., Winnipeg. — Quite sure Mr. Tearle 
would not be insulted if you asked him for a 
photograph. He was last with Vitagraph^ 
playing with Anita Stewart in "The 'Mind- 
the-Paint' Girl." Vou might write him 
there; they will forward it. Can't imagine 
why your other questions were not answered. 
Are you sure? 



D. F., Somewhere in N. Y. — We were 
very glad indeed to hear from you again, as 
we remember your first letter with great 
pleasure. It is always good to feel that an 
effort to please is appreciated. We are grati- 
fied that you like us. Someone once said 
the enmity of a woman was more valuable 
than the friendship of angels, but we never 
could see it that way. Now for your ques- 
tions — after the films have gone the rounds 
of the exhibitors they come back to the com- 
pany and are "shelved," to use the picture 
patois. Write to the World Film Company 
at Fort Lee, N. J., and ask them about buy- 
ing one of their old films. Will you write 
again ? 



"Canadian Girl." — Rockcliffe Fellowes' 
latest appearance is with Madge Kennedy 
in a Goldwyn picture, "Friend Husband." 
Photoplay will doubtless have a picture of 
him soon. Your letter was interesting, and 
your opinions worth-while. But we don't 
say we agree with all of them, remember. 



Mabelle Mitchell, 6 Pitt St., Ade- 
laide, South Australia. — Write Sessue 
Hayakawa care Haworth Picture Corp., 
Paralta Studios, L. A., Cal., for his picture. 
Sonia Markova, late Fox star, now retired, 
is none other than Gretchen Hartman, well- 
known on the screen — remember her splendid 
work as "Fantine" in "Les Miserables?" — 
and the wife of Alan Hale, who is scoring in 
"Friendly Enemies" on the stage. Glad to 
hear that Photoplay is so well liked in Ade- 
laide. You want other admirers of Haya- 
kawa and Mary Pickford to write to you so 
you can sympathize with each other. Don't 
deliberate; it's fatal. Once begin it and 
you'll bore yourself to death. 



V. Z., of Maumee. — Oh, but girlie, I can't 
answer questions real nicely. If I did no one 
would read this department. One of Jack 
Sherrill's pictures was "The Silent Witness." 
Mrs. Florenz Ziegfeld is none other than 
Billie Burke. Harold Lockwcod and May 
Allison are no longer co-stars, but solo stars. 
One of May's latest is celled "The Finding of 
Mary;" Mr. Lockwood zt this writing is 
completing "Pals First," from the stage play 
in which Tom Wi:e end William Courtenay 
starred. James Lackaye is taking Mr. Wbe's 
part in the screen version. Ruby de Remer, 
a former Follies beauty end filmed in "The 
Auction Block" some time ago, is Harold's 
new leading woman. Motion picture p'ayers 
are paid by the week, month, or picture. 
Extra ladies and gentlemen are paid by the 
day — some days. 



G. B., Pittsfield, Mass. — Ethel Clayton is 
with Paramount, and may be reached at the 
Lasky studios in Hollywood. That is 
Harold Lockwood's real name. J. Warren 
Kerrigan's latest picture is "A Burglar for a 
Night." Fannie Ward is forty-three. 

Roberta C, Schenectady, N. Y. — No, 
Roberta, you have been misinformed — Nazi- 
mova is not Mary Pickford's sister. Neither 
did Earle Williams succumb to blood-poison- 
ing on the Coast. Don't know who wrote 
"My Strange Life;" sounds like Theda Bara. 
Nazimova is really Russian. Teddy, Sen- 
nett's star canine, is a mastiff. Dorothy 
Kelly is not playing just now; she is mar- 
ried to Harvey Havenor. 



Every advertisement in PHOTOPLAY MAGAZINE Is guaranteed. 



Photoplay Magazine — Advertising Section 



121 



Questions and Answers 

(Concluded) 



Philip H., Germantown, Pa. — Glad to 
hear from you again. Write us a letter and 
ask some questions. If you thought the 
September issue was the best yet, wonder 
what you'll think of this one. 



Mrs. A. W., N. Y. C— "Over the Top'' 
was filmed over here. "My Four Years in 
Germany" also. The Gerard film is one of 
the great propaganda pictures. Have you 
thought about the big part the photoplay 
is taking in helping us to win the war? 



Virginia, Texas. — There is an interview 
with Frank Mills called "Mrs. Mills' Many 
Husbands" in September Photoplay which 
I believe will tell you what you want to 
know about your favorite. 



Vera Bicker, ioi Geneva Street, St. 
Catherine's, Ont., Canada, would like to 
correspond with a Southern girl of her own 
age (15) about the movies, picture favorites, 
etc. 



Cinderella, La Crosse, Wis. — Your best 
friend is Photoplay and your second best 
the movie theatre. Eugene O'Brien is your 
favorite. We'll have a story about him 
soon. Believe Eugene sends his pictures; 
write to him at the Royalton, New York, 
and find out. If we can ever help you in 
any way, let us know. Write again soon; 
always glad to hear from you. 



T. D., Logan, Utah. — You have a pretty 
name. Florence Carpenter is not on the 
screen now. The "X" stands for Xavier. 
Mary Pickford is going to take a vacation. 
You want to know what the movies are 
going to do with Caruso now that they 
have him. We wonder, too. Your writing 
indicates that you have a sweet disposition, 
and that you read Photoplay Magazine 
every month from cover to cover. Indeed 
we're glad to have another little friend. 



Ray, Montreal. — Sessue Hayakawa is 
your favorite. Antonio Moreno is not mar- 
ried to Pearl White. One of Mary Miles 
Minter's late pictures was "The Ghost of 
Rosy Taylor." Alan Forrest is her leading 
man. The Hayakawas have no children. We 
have no dope on Clifford Alexander. Any- 
thing else? 



M. F. E., Brisbane, Australia. — Well, 
well, Mary, if we weren't glad to hear from 
you! We'd just had a letter from a girl who 
said she "couldn't imagine why on earth we 
ever published that picture of Marion Davies 
in the art section ; there was nothing attrac- 
tive about it." And then came your spark- 
ling letter in which you confide that you 
wish Mack Sennett would make more pic- 
tures like "Those Athletic Girls," and restored 
our faith in human nature. Why doesn't 
Photoplay give more space to Mary Pick- 
ford? Great Bocaccio, Mary — there's some- 
thing about her in almost every issue. Mary 
Miles Minter will send you her photograph 
if you write to her at the American Film 
studios in Santa Barbara, Cal. Billie Burke 
did say something about calling her baby 
"Gloria," we believe; but she changed her 
mind in favor of the "Florence Patricia." 



Kathryn Gray, Kansas City. — Oh, that 
picture was produced in all seriousness, but 
to tell the truth it amused us, too. You see 
that producer has a firm belief in the pub- 
lic's insatiable appetite for the sensational 
old-time meller stuff, and he hasn't much of 
a sense of humor himself, so he keeps right 
at it and he'd be the most surprised man in 
the world if you told him you thought it 
was a satire. I wish you would write again. 
Your letter was clever. 



N. D. W., Yankton, S. D. — If you saw 
that scene enacted at Universal City, the girl 
was probably Marie Walcamp, who plays 
in most of that company's jungle pictures. 
But how can we tell you the name of the 
play when all the data you can give about 
it is that the heroine is golden-haired and 
there's a fight with a leopard? 



Examinusque, Sydney, Aus. — You're 
dead right. You have a long list of favorites, 
but Photoplay will get around to all of 
them in time. Bessie and Montagu are not 
related; neither is either of them married. 
Vivian Martin is married to William Jeffer- 
son, son of Joseph Jefferson. Jack Dean is 
Miss Ward's second husband; she was 
divorced from the South African diamond 
king. Dean is an actor. Lottie Pickford 
has been playing in Paramount pictures 
occasionally ; she had a part with brother 
Jack in "Mile-a-Minute Kendall." War- 
ren Kerrigan is with Paralta. "Souls in 
Pawn" was an American Mutual production 
starring Gail Kane. The late Wm. 
Courtleigh, Jr., 'and Elliott Dexter with 
Miss Clark in "Helene of the North." May 
Allison is no longer Harold Lockwood's co- 
star; she is featured alone now, and among 
her new pictures are "The Winning of j 
Beatrice," "A Successful Adventure." Earle 
Williams is not married. Cleo Ridgely is 
not playing now. 



M. H. S., Pittsburgh, Pa. — Marguerite 
Clark is thirty-three, with red-gold hair and 
hazel eyes. She is now working on a fairy- 
tale, to follow her picturization of "Uncle 
Tom's Cabin," in which she plays both Little 
Eva and Topsy. Emmy Wehlen is not mar- 
ried. Louise Huff is in her early twenties. 
Miss Curley doesn't give her age; she has 
been giving intermittent screen performances 
since 1016. 



N. L., Cleveland, O. — Norman Kerry 
with Constance Talmadge. She is eighteen. 
Constance never had any stage experience; 
she was going to high-school in Brooklyn 
when she decided to follow Norma to the 
Vitagraph studio and try her luck in pic- 
tures. Like Norma, she worked up from 
an extra, and made good. Write to her care 
Select, N. Y. They do say Connie is en- 
gaged to Norman Kerry. 



F. Epley, San Francisco. — George Walsh 
was born in New York in 1802. Believe his 
first picture was "Hell a Poppin' Valentine" 
(Fox). Write to him care Fox studios, L. A. 



R. C. D., R. C. H. A., Montreal.— Jewel 
Carmen is twenty-one and we haven't her 
husband's name; believe she isn't married. 
Write to her care Fox for a picture. Glad 
to hear from you any time. 



L. A. D., Coleman, Wis. — Jack Pickford 
is in the Navy. Virginia Valli's real name is 
McSweeny; the interviewer was entirely 
right. Other questions are against the rules. 

M. E. S., Topeka, Kansas.— "The Barrier" 
was filmed in Canada. Louise Glaum has 
been married. Pauline Frederick is not go- 
ing to retire; she is under contract for a 
term of years with Goldwyn. Cannot give 
home addresses of the players. You'd like 
to know if Alfred Whitman is better looking 
with or without his mustache? Well, to 
tell the truth, we haven't given this matter 
much serious consideration; but if you like, 
we'll think it over and tell you later. 



Victoria Gills, St. Louis, Mo.— Mary 
Miles Minter may be reached at the Ameri- 
can Film studios, Santa Barbara, Cal. She 
will send you her photograph. 




Burlington Watch Company, Dept. 1537 

19th St. and Marshall Blvd., Chicago 

Please send me your free watch book and full par- 
ticulars about your rock-bottom, direct offer on the 
Burlington Watch, either for cash or $2.50 a month. 



Name 

Addrest . 



When you write to advertisers please mention PHOTOPLAY MAGAZINE. 



T22 



Photoplay Magazine — Advertising Section 



Women of America 

You, too, are called to the Colors 

The Government calls upon you to prepare for War Service, offers you the 
opportunity to fight for liberty and freedom side by side with the men of the nation. 

The Service to which you are summoned is not easy in any way — it requires 
endurance, singleness of purpose, devotion and utter disregard of personal desires 
and pursuits. 

The Government places in your hands a great responsibility in the full expecta- 
tion and belief that you will let nothing weigh in the balance against the fact that 

Your Country Needs You 



Many thousands of graduate nurses have been 
withdrawn from civilian practice for military duty. 
There is urgent need for many more with our 
fighting forces over seas. Unless more nurses are 
released from duty here our wounded men over 
there will suffer for want of nursing care. And 
they cannot be released without your help. 

The nation must have 25,000 student nurses noix> if we 
are to fulfill our duty to our sons who offer their bodies as a 
bulwark between us and our enemies. Every young woman 
who enrolls in the United States Student Nurse Reserve will 
relieve a graduate nurse, and at the same time will swell the 
home army upon which we must rely to act as our second line 
of hospital defense. 

Will You Accept the Opportunity and Responsibility? 
The call is for women between the ages of nineteen and 



thirty-five. Intelligent, responsible women of good education 
and sound health are wanted to enroll as candidates for the 
Army School of Nursing, established under the authority of 
the Surgeon-General, with branch schools in the Military 
Hospitals, or to enroll as engaging to hold themselves in 
readiness until April 1st, 1919, to accept assignments to 
civilian nurses' training schools. Those who enroll will be 
sent at the beginning of the autumn and spring terms. Not 
every one who enrolls may be accepted; those of superior 
qualifications will' have the preference. 

There are 1579 nurses' training schools in the country. 
Some of these schools do not require even a full high-school 
education. On the other hand, a college education is a valu- 
able asset, and many hospitals will give credit for it. Credit 
will also be given for special scientific training, or for pre- 
liminary training in nursing, such as that given in special 
courses now being conducted by various colleges and schools. 



Enroll in the Student Nurse Reserve 



Women who enroll in the United States Stu- 
dent Nurse Reserve will be assigned to these 
schools as vacancies occur. The term of training 
varies from two to three years. No course takes 
less than two years nor more than three. 

Every women who completes the training course 
satisfactorily may be eligible for enrollment as a 
Red Cross Nurse and for Service with the Army or 
Navy Nurse Corps and stands a chance of being 
assigned to duty abroad. At the same time she 
will be qualified to earn her living in one of the 
noblest professions open to women. And it should 
be remembered that practical nursing is part of 
the work of every training school and the student 



is not only learning but serving her country from 
the outset. 

Board, lodging and tuition are free at most 
training schools, and in many cases a small enumera- 
tion is paid to cover the cost of books and uniforms. 

The nation needs every nurse it can get to 
"keep up with the draft." The United States 
Student Nurse Reserve is the equivalent for women 
of the great national army training camps for 
soldiers. The nation will rely upon the student 
nurses to fight disease at home, to care for those 
injured and disabled in our hazardous war industries, 
and to make themselves ready to serve when the 
time comes as fully trained nurses, either abroad or at home. 



For further information or for enrollment apply at the nearest Recruiting Station established by the Woman's 
Committee of the Council of National Defense. If you do not know address of your local Recruiting 
Station, write for information to Council of National Defense, Woman's Committee, Washington, D. C 



Anna Howard Shaw, Chairman 

Woman's Committee, Council of National Defense 

W. C. Gorgas 

Surgeon General United States Army 



H. P. Davison, Chairman 

War Council, American Red Cross 

Dr. Franklin Martin, Chairman 

General Medical Board, Council of National Defense 



UNITED STATES STUDENT NURSE RESERVE 



Contributed through 
Division of Advertising 




U. S. Gov't Comm. on 
Public Information 



This space contributed for the Winning of the War by 

THE PUBLISHERS OF THIS MAGAZINE 



Every advertisement Ji PHOTOPLAY MAGAZINE is guaranteed. 



How Soaps affect 
your skin 




'H E sensible, modern wo- 
man wants a soft, clear skin 
— for that is the skin Nature 
intended her to have. 

Nature tries to keep your skin 
soft by supplying it with natural 
oil. The less you interfere with 
the natural oiliness of your skin the 
softer it will be. The cleansing 
must be thorough and refreshing, 
but must not disturb these natural 
oils. 

You know from experience 
that some excellent soaps tend gii 
to roughen the skin. They J| 
simply have too drying an 
effect on the natural oils. The 
skin relies upon these natural 
oils to keep it soft and clear 
and flexible. 

The very most you can ask 
of a .toilet or bath soap is this : 

It should be made of pure 
materials which cleanse per- 
fectly without disturbing the 
skin's own natural oiliness. 
Fortunately the choicest 



i 




. . . Make no mistake about 
it — no matter to what new 
field she turns, she will 
always be the woman at 
heart, greeting her new re- 
sponsibilities with a smil- 
ing face . . . Frankly glad 
of her natural womanly 
charms — caring for them 
always with a high order 
of common sense 



materials are not costly. It is in a 
proper balancing of these materials 
that the soapmaker's real art comes. 

You will find that art wonder- 
fully expressed in Fairy Soap. 

We are quite sure if we sold 
Fairy Soap for 50 cents a cake 
we could tell you a truthful 
story about its value as a toilet 
soap which would make 
you feel that that price was 
warranted. 

But we prefer to talk to you 
along common-sense lines and 
to give you Fairy Soap at a 

common -sense price — a 

few cents a cake. 

If your general health is 
good and if you use Fairy 
Soap in any sensible manner, you 
may be sure that in time you will 
have a skin as soft and pliable as 
Nature endowed you with. 

No matter where you live or 
where you make your home, you 
can buy Fairy Soap. 

THE N. K. FAIRBANK COMPANY 



Have you a little Fairy in your home? 




m^f 





«■*£> Wknte ©val cake ' Ffitts ttlue tn^mdl <^> 



W. F. HALL PRINTING COMPANY, CHICAGO 




% 



e new way 
to manicure 



THE new way to manicure does 
away with ruinouscutting which 
makes the cuticle grow tough 
and thick, which causes hangnails 
and ruins the appearance of your 
whole hand. 

Start today to have lovely nails. 
No matter how unattractive cuticle- 
cutting may have made your nails, 
Cutex will really transform them. 
It completely does away with the 
necessity of cutting or trimming the 
cuticle. 

Cutex is absolutely harmless. The 
moment you use it, you will be enthu- 







siasticaboutthe way it softens surplus 
cuticle — the way overgrown cuticle, 
ragged edges, hangnails— vanish! 

Have your first Cutex manicure 
today. Then examine your nails! 
They will look so shapely, so well- 
groomed you will catch yourself 
admiring them every little while. 
A complete manicure set for 15c 

Mai] the coupon today with 15c and we will send 
you the complete manicure set shown below, which 
will give you at least six "manicures." Send for it 
today. Address Northam Warren. Dept. 
710. 114 Weit 17th St., New York City. 

If you live in Canada, send 15 cents for 
vour set to Mac Lean. Benn & Nelson. Lim- 
ited, Dept. 710, 489 St. Paul St. West, 
Montreal, and get Canadian prices. 



MAIL WITH 15c TODAY 



^JLTTEX 



Cutex comes 
in 30c, 60c 
and $ 1.25 
bottles— drug 
and depart- 
ment stores 



Send 15c now 
for this set. 
Have your first 
Cutex manicure 
and see what an 
amazing im- 
provement it 
makes 



NORTHAM WARREN, 
Dept. 710, 114 West 17th St 

Name 

Street 




New York City 



City 



.State. 



ivi\^y V 11 N\^( 1 





MAGAZIN 



Notice to Read. : 

1-cent atai 
tins, and it wi 
fiokher.s or sail 



■ IMH 





i^HMnn«HHiHHvn 



.£/> / r// i ro aw: > 



Julian Johnson § 
Annual Review of 
he Stars and Plays 



Eugene O'Brien's Real Personality 

Edith Storey's Own Story 
Julian El tinge's New Palace Home 
200 Illustrations and Features 



The Photoplay 
League's Fight foi 
Clean Picture* 



Note How Scientific Cookery Has Changed Some 

Famous Soups 



THE Van Camp kitchens, in the past few years, have brought 
about a cooking revolution. A staff of culinary experts, 
college-trained, have done it. Laboratory methods, scien- 
tific and exact, have supplanted guesswork. 

The Van Camp Soups are among the most conspicuous 
results. A test of any one of them will prove a revelation. 

Most of these soups are based on famous recipes. They 
were first made in our kitchens by a noted French chef from 
the Hotel Ritz in Paris. 

Each of these soups was considered the finest of its kind. 
Some had won prizes in that capital of cookery. But our 
scientific cooks, through countless 
tests, improved each soup beyond 
all recognition. 

They made a study of every in- 
gredient. They compered things by 

analysis. They learned what seeds Ck(f%B I F> C 18 

and soils best grew the needed veg- ^9%J%J m ^9 Kinds 

etables. Prepared in the Van Camp Kitchens in Indianapolis 




Thus they found a way to attain in every material the 
pinnacle of quality and flavor. 

Then for each soup they made countless different blends. 
They tried a thousand ways of adding to the flavor. Years 
were spent on some of these soups to reach today's perfection. 
Then every step and detail were recorded in a formula. 
A single formula covers many pages. So every Van Camp Soup 
is exactly like the finest soup of that kind which these experts 
have created. 

Now we urge you for your own sake to do this : 
Choose any soup which, under old methods, seemed to you 
delightful. Then learn for yourself 
how the Van Camp methods have 
improved that soup. One test like 
that will win you to this scientific 
cookery. Then every soup you serve 
will be a masterpiece. Ycur soups 
will never vary. Still these Van Camp 
Soups wiil cost no more than others. 



-~- ^-^^ IIM -- ,-- ^ 

Van Camp's Pork and Beans 

A dish which will change your whole concep- 
tion of what Pork and Beans should be. 



^t 




Van Camp's Spaghetti 

A famous Italian recipe made vastly better 
under scientific methods. 




Van Camp's Peanut Butter 

A new style of this r'aiity which will bring 
you multiplied delights. 



rHOTOPLAY 1V1AGAZINE i^UJVEKTISIJNG OJiCTlON 




Keep It 

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Do not confuse this with offers of earlier 
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We offer new Olivers at half 
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Mail 



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This Coupon 



We ship from the factory to you. No 
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THE OLIVER TYPEWRITER CO. 

1478 Oliver Typewriter Bldg., Chicago 

NOTE CAREFULLY— This couponiwill bring you 
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mation. Check carefully which you wish. 



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(770) 



THE OLIVER TYPEWRITER COMPANY, 

1478 Oliver Typewriter Bldg., Chicago, 111. 

I Ship me a new Oliver Nine for five days' free inspection. If I keep it, I 

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fully paid for. 

My shipping point is 

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| Do not send a machine until I order it. Mail me your book — "The High 

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Photoplay Magazine — Advertising Section 




'- 






Uuhat do we see tonight \ 






W* 



Sfc^i 



I, 



A LL right, pile in! Plenty of room for 
/-\ five in the good old bus, so pile in, 
■*■ all seven of you! What do we see 
tonight? We don't know yet. But the 
best theatres in town are showing Para- 
mount and Artcraft motion pictures. 

And after ten minutes or so you are 
still John H. Everyman of No. 19 Henry 
Street, in the same suit of clothes — 

— only you don't know it. 

According to your friends and relatives, 
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little faster, and the next you are slam- 
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You, and at your time of life! 

Full-grown and sophisticated and 
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blase as you might be. 

Unconsciously you have proved an- 
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pictures and run-of-the-ruck "movies." 

If you recall which motion pictures were 
notable in the stories they were built 
upon, masterly in the way the scenes were 
built on those stories, supreme in the 
fame and talent of the stars who played 
them and in the genius of the directors 
who staged them, and clean throughout 
— you will also recall that "Paramount" 
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1? *g % 

That is why you tell yourself your two 
hours have been well worth while, as you 
pack all seven of them back into the 
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tyaramawit<^GHaxi£t 

Motion (pictures " 



7 JirPP V^/nMH tn Knf)1Q) how to be sure of seeing Paramou 

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nt 

ures 



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FAMOUS PLAYERS -LASKY CORPORATION 

ADOLPH ZUKORPres. JESSE L.LASKY Vice Pres CECIL B DE MILLE Director Qeneral 

<~NE\V YORK_, 



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FOREMOST STARS. SUPERBLY DIRECTED, IN CLEAN MOTION PICTURES 



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Every advertisement in PHOTOPLAY MAGAZINE 19 guaranteed. 




REG U. S. PAT. OFF. 

THE WORLD'S LEADING MOVING PICTURE PUBLICATION 

PHOTOPLAY MAGAZINE 



"The National Movie Publication" 

Copyright, 1918, by the Photoplay Publishing Company Chicago 



VOL. XIV 



Contents 



No. 6 



NOVEMBER, 1918 



Cover Design — Edith Storey 

From the Pastel Portrait by W. Haskell Coffin 

Art Section Portraits: Jackie Saunders, Dorothy Dalton, 
Madge Kennedy, Nell Shipman, Bessie Barriscale, 
Gloria Hope, Alia Nazimova, Bryant and Mrs. 
. Washburn. 

The Melting Pot Editorial 

Julian Eltinge's Italian Castle in California 

Pictures of the Home He Planned Himself. 

When Mary Thurman Pants for Publicity (Pictures) 

And How Charlie Murray Thwarts a Flirtation. 

The Bridge of Ships (Pictures) 

Views of Uncle Sam's Third War Film. 

The Story of Storey Julian Johnson 

Edith — and How She Grew. 

How to Hold a Husband 

The Hayakawas Give Four Lessons. 

"Casting the First Stone" Kenneth McGaffey 

Studio Vernacular — Not a Religious Allusion. 

Photography— the Mile-a-Minute Art. John M. Nickolaus 

About a Very Important Photoplay Science. 

Johanna Enlists (Fiction) Dale Carroll 

Told from the Picture with Mary Pickford. 

Six Feet, Nineteen 

Concerning Rod La Rocque, in Re: the Fame Ladder. 
(Contents continued on next page) 



EiUHaiBiBiiifiiiiitii: 



21 
22 

26 

27 

28 

31 

32 

34 

36 

41 



Published monthly by the Photoplay Publishing Co., 350 N. Clark St., Chicago, 111. 

E. M. Colvin, Pres.; James R. Quirk, Vice Pres. and Gen. Mgr.; R. M. Eastman, Sec.-Treas. 
Julian Johnson, Editor. W. M. Hart, Adv. Mgr. 

Yearly Subscription: $2.00 in the United States, its dependencies, Mexico and Cuba: 
$2.50 Canada; $3.00 to foreign countries. Remittances should be made by check, or postal 
or express money order. 

Caution— Do not subscribe through persons unknown to you. 

Entered as second-class matter Apr. 24, 1912. at the Postoffice at Chicaeo. 111. . under the Act of March 3 1879. 



Next Month 

IF you have no coal, stick the Decem- 
ber issue of Photoplay up in the 
fireplace and warm yourself in its cheer- 
ful radiance; it's going to be that fer- 
vent and bright. 

Among the personalities who will step 
right out of the illumination to meet 
you are John Barrymore, Madge Ken- 
nedy, Tom Moore, Niles Welch, King 
Baggott — a long time since you've 
talked with him, isn't it ! — Ethel Clay- 
ton, Nell Shipman, John Bowers, Rich- 
ard Barthelmess, Dorothy Phillips, Wil- 
liam Stowell, Marguerite Marsh, Hale 
Hamilton and Molly Malone. 

It is not possible to forecast the exact 
number of interesting personal accounts 
which may be contained in a single 
set of covers; news and a wealth of 
other material are to be reckoned, also ; 
nevertheless the popular men and 
women just named are only part of 
those whose stories, illustrated with ex- 
clusive pictures from professional and 
private life, are in readiness to print 
as rapidly as the exigencies of space 
permit. 

Among other December features — 



Directors — the Second Generation 

The whole realm of motion pictures 
has, so far, been ruled by its original 
directoral masters. But a new school — 
a great class of young men — the second 
generation — is springing up. A small 
group of these young men is perhaps 
the most tremendous influence in motion 
pictures today. The masters are still 
here, and most of them are still in the 
prime of life, but their pupils are be- 
ginning to produce originally. An in- 
teresting analysis of recent work and a 
timely forecast of tomorrow. 



Getting Next to Nature 

How a firm which has specialized in 
natural history has made these pictures 
romantic as a novel and interesting 
a murder. 





Contents^ — Continued 



■in in i 



" '"!! s fi-ii .s'S 1 ! "iiii'i'Riri'irii'i!' n- : :'imi 



"Surely, Shirley— Surely!" Arabella Boone 42 

The Interviewer Found It Far Easier to Say "Yes" to Miss Mason. 

The Man Who Made the First Movie Move Homer Croy 44 

Here Is Some Real News. 

Consider Katherine Kenneth McGaffey 45 

Miss MacDonald Thought Opportunity Was Only Another Name 
for "Pest." 

Earle's Latest Affinity 47 

A Maxfield Parrish Turns to the Photoplay Art. 

Famous Women Who Have Cooked for Me 

However— Only Before the Camera. Thomas Meighan 48 

The Turn of the Wheel (Fiction) Jerome Shorey 49 

Told from Geraldine Farrar's Photoplay. 

The Million Dollar Dolly Mystery 53 

In Which the Solution Is Only Conjectured. 

Educational Films 54 

This Issue — "The Safety First" Phase of Visual Instruction. 

A Fifth Avenue Beauty 56 

However, Agnes Ayres Is No Mere Debutante. 

Some Bebe! Justin Fair 57 

Referring to Miss Daniels — Don't Miss the Pictures! 

The Midnight Trail (Fiction) Betty Shannon 59 

The Story of Frank Keenan's New Picture. 

Speaking for Himself 63 

Fatty Arbuckle's "Luke" Tells About His Career. 

Films for Fighters Janet M. Cummings 64 

Movies in France, Furnished by the Y. M. C. A. 

Elliott and the Admirable Tassa ^6 

Read How to Make the World's Best Flapjacks. 

Around the World in Eighty Seconds (Pictures) 68 

Here's Another Motion Picture Miracle! 

Priscilla in Name Only 70 

Miss Dean Has Outshone Her Name. 

Why-Do-They-Do-It? 71 

The Regular Monthly Indignation Meeting of Our Readers. 

Close-Ups Editorial Expression and Timely Comment 73 
The Photoplay League of America Myra Kingman Miller 75 

An Initial Message to Those Believing in Good Pictures. 



Our New Leading Men 

They Appear in the World's Greatest Spectacle, Too. 

The Shadow Stage 

A Review of the Year's Pictures. 

Anna Held Is Dead! 

A Tribute to the Famous Frenchwoman. 

An Iron Man in a Velvet Manner 

Eugene O'Brien — a resolute and hard-fisted American. 

The Grand March 

Why the Studios Are Moving West This Winter. 

This Would Be Just a Little Home— (Pictures) 

Meet Anna Little — Not at the Studio. 

Plays and Players 

News and Pictures from the Studios. 

Grand Crossings Impressions 

Miss Evans Meets Grace Valentine and Alan Hale. 

A Fair Ally 

Margaret Risdon — From England. 



Questions and Answers 



77 
Julian Johnson 78 
82 
John Ten Eyck 83 
86 
88 
CalYork 90 
Delight Evans 96 
98 
The Answer Man 101 




lli« IIWIII rtilriKliiBlmtiliJnii:. . ...I 

Next Month 

Making America Musical 

There's no doubt that today we hear 
more real music — good music — in a 
week than our fathers heard in a year. 
Who made America musical, all-of-a- 
sudden? The great opera companies 
and orchestras? They were a good 
drop, but only a drop, in the national 
bucket. The talking machines? A 
help, certainly. But the big, sweeping 
artistic evangelism has been of the past 
three and four years, and has been dis- 
tinctly that of the high-class photoplay 
theatre. A real news story for intelli- 
gent people everywhere, by Hugo 
Reisenfeld, director of music, the Roth- 
apfel theatres, New York City. 



Storming Savagery's Last Stronghold 

An absorbing account, in words and 
pictures, of the great exploit of Martin 
Johnson of Kansas, who has just 
brought back, in films, the final secrets 
of the South Seas. A year among the 
cannibals of the Solomon Islands — re- 
corded on ten miles of celluloid. 



A Fighting Arm! 

A graphic summary of the Motion 
Picture, from the declaration of war 
to the present day; not as a more or 
less efficient auxiliary, but as an actual 
fighting arm of the United States Gov- 
ernment. A never-told story by the 
only man who could tell it — John C. 
Flinn, of the Zukor-Lasky organiza- 
tion. Mr. Flinn has spent more than 
half his year in Washington, directing 
patriotic screen propaganda. 



Literary Secret Service 

The search for photoplay material has 
become just that. The old days of a 
"scenario department" which thought 
out originals before and after lunch; 
while the producer himself occasionally 
picked up a popular novel, have gone 
forever. Departments of record and re- 
search have been established in every big 
company; literary agents are engaged as 
a great corporation engages a legal staff ; 
high-salaried experts read every pub- 
lished book, confer with all publishers 
and watch the whole horizon for pos- 
sible talent. The never-told account of 
an industry within an industry. 



Modes of a Military Winter 

A practical fashion display, by a 
smart and popular star. 



"All Dressed Up and No Place to Work " 
The Sennett girls in perfectly astonish- 
ing surroundings — their clothes and 
their homes. The "who-am-I-when- 
I'm-dressed" personality of the athletic 
little beauties of Alessandro street. 
And 
Absorbing fiction, finely written and 
illustrated ; the great work of the 
Photoplay League ; duotone illustration ; 
reviews of the current photoplays; edi- 
torial comment; educational depart- 
ment ; news of the people and doings 
of filmland. 





Photoplay Magazine — Advertising Section 




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Photoplay Magazine — Advertising Section 




Reduced to 25c per copy 
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Photoplay Magazine — Advertising Section 




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Scores of interesting articles 
about the people you see 
on the screen. 

Splendidly written short 
stories, some of which you 
will see acted at your mov- 
ing picture theater. 

The truth and nothing but 
the truth, about motion 
pictures, the stars, and the 
industry. 

You have read this issue of 
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in its field of motion pictures. 

Slip a dollar bill in an 
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Dept. 7-R, 350 N. Clark St., CHICAGO 

and receive the December issue 
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Short-Story Writing 

A COURSE of forty lessons in the history, form, struc- 
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Dept. 95 Springfield, Mass. 




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(OPy THIS SKETCH 

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will send you a teet lesson plate, also 
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bilities for YOU. State yoir age. _ o-' 

THE LANDON SCHOOL Cf /« 

of Illustrating and Cartooning ^ h w^!aH 

1507 Scnofidd Building CtEVELAND. 0. 



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Photoplay Magazine — Advertising Section 




uafitd gviite, quite U^rencn 



± < 



V 



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EXTRACT 

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samples of Djer-Kiss Extract, Face Powder and Sachet. 



^ jf jdade in Trance only* 

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Every advertisement In PHOTOPLAY 1IAGAZIXE is guaranteed. 




Victor Geortf 



T)ALBOA may have discovered the Pacific Ocean, but it took Jackie Saunders to 
AJ discover Balboa. Incidentally, Balboa's recent picture output has lacked the 
personal charm and piquant beauty of this interesting young comedienne. 




r\OROTHY, a competent counterfeiter of the various female emotions, is of that 
LJ sinned-against sisterhood whose members are always sacrificing themselves to 
save someone— on the screen. "Green Eyes" is a recent Dalton contribution. 



M 

and 



ADGE KENNEDY'S forte is the frivolous wife, a quaint contradiction of in- 
nocence and sophistication. On the stage she played in "Fair and Warmer" 
Twin Beds;" and her most recent Goldwyn completion is "Friend Husband." 




\ JELL SH1PMAN is again a featured Vitagraph player after short sojourns with 
1 V Fox and Lasky. Miss Shipntanis one of the most versatile of screen actresses; 
she is traveler, novelist and scenarioist as well as cinema star. 








R II JLi 5 ISCA *- E , has had a lo »g <wd varied camera career. Commencing 
JLJ with The Rose of the Rancho," continuing through an extended list of Ince- 
J rtangle successes, Miss Barriscale now heads her own Paralta company 




j T THEN D. W. Griffith gave her the ingenue role in "The Great Love," Gloria 
yV Hope's dream came true — she has always wanted to be a Griffith player. 
Remember her in Ince's "The Guilty Man"? Gloria is small and blonde. 




HSHI 



A LLA NAZI MOV A has just completed "L 'Occident," adapted from a Belgian 
il story. The Russian actress, who put her "War Brides" into pictures, is now 
under contract with Metro. Her husband, Charles Bryant, is her leading man. 




DRY ANT WASHBURN makes his first a-ppearance as a Las ky star m Cecil 
B DeMiUe'7"TM I Come Back to You;" and is soon to pay m the film version 
of "The Gypsy Trail." "Bryant Junior" is absent from this family group. 



THE WORLD'S LEADING MOVING PICTURE MAGAZINE 

PHOTOPLAY 



VOL. XIV 



NOVEMBER, 1918 



NO. 6 




TSRAEL ZA7S(GW7LL called America the melting-pot of nations, and his simile 
-*■ was considered a wonderful embodiment of vast fact in convenient figure. 

America is a melting-pot, but the reducing fire of ZangwilYs vision is to todays 
actuality as an assayers flame to a blast furnace. 

In the roaring converter of war more than nations are fusing. 

Prejudices are sweeping out li\e ash on the furnace winds, creeds are commingling 
in the final gold of truth. 

A priest administers extreme unction to Benny Cohen, and Benny smiles and 
closes satisfied eyes. A Rabbi is the exhorter of a group of Irish boys on the solemn 
eve of battle. The Young Mens Christian Association has become a boxing promoter. 

Blue and gray have melted forever into Kha\i. 

The Iowa lad is learning that the French aren't frog-eaters, nor are the Italians 
"Ginnies." Likewise, the men of Europe are discovering a land of fellow-beings — not 
an imaginary continent of bad manners, red Indians and financial savages. 

One result of this first real unifying of the human race will be a shaking of the 
conventional codes to their foundations. 

In our long tranquility, in our too-sure epoch of commercial splendor, form had 
begun to be accepted for observance. Smug hypocrisy mas\ed real morality. Society 
had many shams that had long passed for the real thing. 

Five years ago, people were pretty generally accepted for what they seemed to be. 
For the rest of our lives, people are going to be accepted for what they are. 

We have just begun to recognize that sin is a matter of motive, not accident or 
impulse. 





Julian Eltinge's 






Photos copyrighted by Photoplay Magazine 

Rowboat view from Silver Lake. 



"TT'S too beautiful for a bache- 
■*■ lor — it's a shame," said one of 
a group of eastern society folks who 
recently dropped in to view Julian 
Eltinge's new California home. 

"Well, I've been planning and 
dreaming this for ten years," was 
Eltinge's response, "and at least 
I'm going to get it finished accord- 
ing to my own ideas." 

The place, which he calls "Villa 
Capistrana," is the most beautiful 
and unique ever built for a motion 
picture star. Its architecture is a 
combination of Italian, Moorish 
and Spanish. 

It is located on Silver Lake, 
less than fifteen minutes from the 
center of Los Angeles by automo- 
bile. Here Eltinge lives with his 
mother and father. 



The balcony off one of the bed- 
rooms. Here Mr. Eltinge works 
on his scripts, and does most of 
his reading. 



22 



Italian Castle in California 




23 



miuitttifi 



T 




Below— Eltinge calls this his "Trick Room." Charlie Chaplin calls it "The Zoo." 

Here are hundreds of- rare-pieces, antiques and books, picked up in all parts of the 

world. Also it contains autographed photographs of hundreds of celebrities, from 

royalty to stage and screen. 







To the left, on opposite page - 
The principal bedroom, Mr. 
Eltinge's own apartment, is 
a direct copy of a room in 
an old castle at Madrid. 
The tapestries and spreads 
are made of wonderful old 
blue and gold ecclesiastical 
robes. The door at the 
center opens on a beautiful 
tile bathroom, a striking 
contrast in period with the 
bedroom itself. 



The entrance. Note the 
combination of Moorish and 
Italian design. The en- 
trance hall has all the at- 
mosphere of a medieval 
Italian castle. 




A phonograph case 

which Mr. Eltinge 

designed for his 

"Trick Room." 



Photo! by 
Stagg 



25 




5:6 



When Mary Thurman Pants for Publicity — 

- — she literally pants for it, as you see here. And a crepe-hair moustache so effectually disguised Mack Sennett's best-known 
piece of living ivory that Virginia Warwick picked her as a gullible new John — until Charlie Murray put her wise. 




( Photographs Copyrighted 
by The Division of Films, 
Committee on Public Infor- 
mation) 



Four blades has this propeller, in- 
stead of the usual three; and you'll 
note that they are detachable, whereas 
the old-time propeller was cast in a 
single chunk of bronze. Now, a 
damaged propeller means simplyquick 
repair, instead of complete refitting. 



Below — a great liner's turbine is the finest 
piece of steam machinery ever made. 
These men are "trueing" the thousands 
of vanes which utilize every ounce 
of steam pressure. 




Guarding some miles of anchor chain may not be the most in- 
spiring bit of soldiering in the world, but the protection of 
material is every bit as essential as its creation. 




27 




The Story 



— Edith, who grew up in 
won't marry because she cant 
siders Theda Bara the super' 



By Jul 



lan 



damsel of the plains, a poised society 
woman, a country girl, possibly an eccen- 
tric comedienne — boy, for any of these, 
page Edith Storey. 

Your memory will give you a better de- 
scription of her acting than any words of 
mine. It is the personality of the girl 
herself — what she is, and how she lives 
and works, which is even more interesting, 
and which gives that calm promise of re- 
sultful years to come. 



"Queen for an Hour," a two-reel 
absurdity indulged in by drama- 
tic Edith while resting between 
" big " pictures. She enjoyed 
it immensely, she says. The 
lovely centerpiece of the legend 
was a rube servant girl. 



Edith Storey 
is not yet past 
her middle 
twenties. Like 
most photo- 



MOST screen stars have done a life's work at 
twenty-five. If they live to eighty their 
biographies may be longer, but will they 
be more varied, or richer in observation 
and incident? Xot very much. 

What does- the future hold for these ancients of 
twenty years — for these unmarried girls who have 
delineated every female emotion, joy and sorrow 
from youth to age? An astounding craft has com- 
pelled them to write an Encyclopedia Britannica of 
life even before life has ceased to bewilder them; 
what can they add to that text when life becomes a 
casual thing? 

They finished the grammar grades of acting in 
their teens. Most of them are in their high school 
seniority. The flower of maturity — the great and 
mysterious tomorrow of our reconstructed world — 
will be their artistic college course. Art is always 
long; it is building, study, observation, infinite 
practice — therefore it is not impossible nor even 
improbable that in the years to come a few of them 
may become the most finished and fluent dramatic 
interpreters the world has ever seen! 

Consider, for a little while, that very interesting 
young woman and artist, Edith Storey: there's a 
bet, if you're picking tomorrow's world-series 
actresses. 

Wanted: a queen of Egypt, a Spanish dancer, 
a Russian heroine, an Italian adventuress, a daring 



28 




In this presumptious film entertainment Edith Storey made her screen bow. It's a 
school diploma is Florence Turner. The little page back of Mr. Dion is Edith 
is Dick Storey, Edith's brother, now a petty officer on an American torpedo-boat. 

in high heels, and in the course of 



o 



f Storey 



pictures, wants to be a farmer, 
attend to two businesses, and con- 
lative example of bad acting. 



Jol 



inson 



play actresses she is a citizen of the United States; 
that is to say, she knows California as well as she 
knows New York, although it is the latter town 
she calls home, and in which she was born. 

It was in a New York apartment-house — on 
Riverside Drive, with the Hudson flowing in front, 
and the vast city flowing behind — that I found her 
on a cool evening after a hot August day. 

"Here are father, and mother," she said, in informal in- 
troduction " — here we all are except Sooner, my little 
white dog, who's on Long Island, and Dick, my brother, 
who's on a torpedo-boat." 

While she told me about Dick, and Sooner, I became 
acquainted with Mr. and Mrs. Storey. You who have 
imagined her a Russian, or a Jewess, or a Castilian woman, 
or French, can chuck these illusions when I tell you that 





A new 
portrait-study. 




two-reel "Francesca da Rimini," and the shy lady accepting Hector Dion's high- 
Storey, aged thirteen. The utterly nonchalant lad leaning on Miss Turner's bench 
Miss Storey's only recollection of her initial picture part is that it was her first day 
the filming she fell down twelve times. 



the parental interests can only be described in that 
substantial American phrase, Connecticut Yankee. 
Like Sam Clemens, the literary courtier of Europe, 
or Nordica, the supreme Wagnerian, Edith Storey, 
the star foreigner of the screen, is as domestic as 
a wooden nutmeg. 

She leaves the actress stuff in her dressing room 
with the costumes and the stick of yellow grease 
paint. But her voice and her enunciation — the one 
rich and vibrant, the other crisp and complete — 
are not the speaking practice of the careless and 
untrained woman. 

"I was depending on my voice," she said, "before 
I ever thought of making my living in front of a 
camera. I began on the stage. . When I was eight. 
All sorts of kids, from a youngster in 'Mrs. Wiggs 
of the Cabbage Patch' to little princesses and such." 

At thirteen, she made her motion picture debut. 

You see, she and pictures can't remember the 
time when they didn't know each other. Neither 
turned to the other; rather, they collided when they 
were pups, and played in the same back yard till 
they reached years of accountability. 

She was with Vitagraph, and Melies, and Vita- 
graph, and then here and there, and then with 
Vitagraph. Now, she is with Metro. 

"Those were great days!" she sighed, after the 
manner of a seventy-year-old Bernhardt looking 
back upon Victorian triumphs. "Two reels was a 
special feature, for a set you borrowed somebody's 
pergola, and for light you trusted God to aim the 
sun just right. And God was the picture pioneer's 
most reliable backer; often everything else failed, 
but the sun shone, and we took our moving photo- 
graphs just the same." 

Miss Storey rocked back and forth, under the 



3° 



Photoplay Magazine 




In all reasonable weather she spends her 
Eastern hours in or about this sea-shore 
"farm" of hers, on Long Island. In 
severe winter days, however, she returns 
to her Riverside Drive apartment over- 
looking the Hudson river. 



shaded lamp. The wind from 
the river rustled her dark 
hair, casting rippling shadows 
over her sun-browned cheek, 
and pressing the silk of her 
thin blouse tight against her 
superbly muscled arms and 
shoulders. 

She was knitting. When a 
woman purls and counts, conversa- 
tions lags. 

"What do you read?"' I asked, 
floundering. 

"I don't read," she murmured. "One 

two I just knit. Last 

winter I knitted seventeen sweaters! 
All for the navy. My brother, on 
patrol duty in New York harbor, had 
to wear four sweaters at a time." 

"But you do read," I contradicted. 
"Under your yarn, there, is Loti's 
Mme. Chrysanthemum,' and Edith 
Wharton's 'Kingu.' " 

"Oh, well; I don't read — much. 
And above all things, I don't want 
to strike a pose about it!" 

Which last. I guess, was the truth. 

We talked of acting, and acting 
associations, and favorite parts. 

She has a personal definition of act- 
ing which struck me as original. 

'Acting, to me, is being a real 
woman wholly different from Edith 
Storey." 

Which, when you analyze it, is a 
pretty good one-sentence summary. 
We talked a little more, and got into 
a wordy fight. 

"You're wrong. I like to play Rus- 
sians, and Spaniards, and dance hall 
girls — not because they're what they 
are. but because they're all absolutely 
different from me! I don't think a 
girl, or a woman, who walks on a 



stage or in front of a camera to be 
herself, and to get renowned for her 
'personality,' has any right to call 
herself an actress. She's only a 
model. 

"If I have a favorite part, it is 
the Egyptian Princess in 'Dust of 
Egypt.' She was pathetic — and 
funny; majestic — and a little bit 
Marie Dresslery — an all-right girl 
in an all-wrong street." 

Bye and bye we talked of photo- 
plays, and their general futility. 

"You'll see," she said, "that the 
country'll be saved in a play way by 
doing all the old ones over again. I 
don't mean literally. I do mean 
that every situation has been ex- 
hausted without art; we'll put some 
artistic touches — that's reality and 
life, I think — into the old situa- 
tions, and we'll have new plays! It 
vould be impossible to write new 
ituations to keep up to the num- 
ber the photoplays demand. 
There aren't that many in a 
universe of worlds!" 
Silence. 

Then, right in the middle of 
a purl, she giggled. 

"You and your 'foreign wo- 
man' ideas about me! Will you 
tell them what I really am? 

"I'm a 
farmer. I call 
my little Long 
Island place 
'the farm.' 
Some day I'm 
going to have 
real farm, 
(Continued on 
page 114) 




Miss Storey's present dressing room, in the Metro studio in Hollywood. 



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Silence when he reads the paper at breakfast, 
even the lady's "sneakers." 



Obs 



Never inveigle him into a two-handed game of rhum 
when he'd rather play solitaire. 



For dessert, buy 
the very finest 
pastry your city 
affords — and as- 
sure him you 
made it yourself. 




Finally, be artistic everywhere. 
Few men would chase a roof- 
garden if they had a garden 
like this in the back yard. 



How to Hold 
a Husband 

Mr. and Mrs. Haya\awa, in an 
Oriental lesson in four chapters. 

Photos by Stagg 



DYRAMID-BUILDING, making Damascus blades, 
husband-holding — three of our conspicuous lost arts. 
But as a lot of wisdom has come out of the Orient on other 
matters, one may turn to Tsuru and Sessue with a con- 
siderable belief that they can realiy show a way to keep 
papa in nights. The divorce courts will now be watched 
for dwindling business, and more lessons will be published 
if necessary in this great cause. 



31 




asting the 



Proving that • the 
reduces all geological 

By Kenneth 









ANY way you look at it, there are a lot of stones. 
There's the well-known Blarney, Young Kid Roll- 
ing, who would not pluck the moss, Old Grave 
Stone, who gets you in the end, Plymouth Rock, 
and Fred Stone. The others are mere pebbles compared 
to the popularity of the latter, Mr. Webster's often-quoted 
and frequently mispronounced dictionary says in part, dis- 
cussing Stone— "A concrete earthlv or mineral matter." 
Can you beat that? I'll bet if old Noah had seen Fred 
before he got to the S's he would have had a different line 
to write, and he would have needed more than forty days 
and forty nights to think of some terse expression to sym- 
bolize and describe the combination of "pep," fun, per- 
sonality and huskiness that went to make up Fred when 

32 



he hit the Artcraft lot to do three pictures 

in as many months and which will be shown all over 
the world within the year. 

But to go back to our muttons — providing it 
isn't a meatless day — we must needs chronicle and 
describe Fred's debut into Filmdom and the ac- 
companying excitement. In the first place 
Fred closed a very busy New York season of 
his successful musical comedy "Jack o' Lan- 
tern" on Saturday night and instead of going to 
his country home to rest his frayed nerves, as most 
stars do, he leaped aboard a train Sunday morning 
and tore out for California. Four days on the train 
was enough vacation, for when he untangled himself 
from the ropes Doug Fairbanks and his cowhands had 
used to haul him off the Limited, Stone announced 
>» that he was "A rearin' to go!" 

Fred didn't know what he had got into when 
he arrived in Los for he had no sooner reached the plat- 
form of his car than a lariat landed about his neck and in 

* Casting the First Stone, in Celluloidese means as 
follows: Each production that a star does in a year is 
numbered thus: First Stone — Sixth Pickford — Third 
Ferguson — etc. "Casting" is selecting the players who 
are to appear in a certain production. Therefore putting 
all this together brings out the deftly concealed fact that 
the title means selecting the people for Fred Stone's first 
photodramatic production and is not used to show the 
writer's deep knowledge of the Bible. Also and inci- 
dentally the title has nothing to do with the story. But 
it is a good title and the story could be worse so why 
keep them strangers in a family publication? 



First Stone 



comedian named Fred 
strata to mere pebbles. 

McGaffey 



another moment he was bound hand and foot while Doug 
and some twenty or thirty cowboys shot blank cartridges 
at his tootsies. 

The Lasky people had picked out a great home for Fred, 
high up on a hill overlooking the town and his nearest 
neighbor within a half mile being Cecil B. de Mille, who 
lives a hundred yards away in a near duplicate of the palace 
rented by Stone. Inside of three hours it was impossible 
to tell which house was whose for Mrs. de Mille was call- 
ing on Mrs. Stone and the Stone children were exploring 
the neighborhood under the guidance of C. B.'s twain. 

Early the next morning — in fact, too early — Fred Stone 
was over on the lot ready to begin work. No one was 
there to receive him and he spent an hour roaming around 
before the rest of the hands got down — hung up the coat 
and the old dinner pail and got all set for a day of honest 
toil. 

Fred's first picture was a western "Johnny 
Get Your Gun," and all the cowboys who 
work in pictures welcomed it with gur 
gles of glee for once upon a time a 
celebrated stage cowboy came out 
to do a Western, all dolled up in 
true cowboy style from wide 
brim Stetson to pin heel boots, 
carried a regiment of artillery 
on each ship, and a bandana 
around his neck and was a 
real cowhand — ■ all except 
knowing which end of a 
horse started first. Ever since 
the first couple of days they * 
had the stage cowboy on the 
ranch, the real cowboys have 
been sitting up nights getting 
their hair pants all baggy at the 
knees praying for the arrival of an- 
other stage cowboy. Cowboys came 
from miles around and offered to work 
with Stone just for the laughs they 
would get. 

The first day Fred was to go out 
to the ranch the cowpersons were 
up betimes and when the star ar- 
rived in his automobile with Donald 
Crisp, the director, they were, so to 
speak, "all set." 

It was a little cloudy when Stone 
arrived and they had about an hour 
until the sun came out so the cow- 
hands got. to playing among them- 
selves — just careless like. The subject 
of roping came up and the best of them 
went out and threw all the fancy stuff 
he had up his sleeve and it was 
hard stuff at that. 
Then one of the 
bovs in a modest 



kind of a way, allowed they would all like to see a sample 
of the roping Mister Stone pulled to bunk the New York 
theatre-goers. 

Fred stepped out and admitted that he was only an 
actor and of course not much of a hand with a rope but 
still he was always willing to oblige and if he could afford 
a lot of innocent young men a little amusement he -was not 
the person to deny them. Then he pulled every stunt 
that had been pulled and ended up by doing things with a 
rope that the cattlehands didn't know were possible. 

Stone's exhibition left them groggy but still game, so 
some horses were brought out and after he had roped and 
hogtied a pony in just ten seconds less than the best one 
of the bunch, most of the reckless riders of the range were 
all worn out and had to sit down in the shade for a long 
rest. The few that hadn't taken the count went out and 
gathered in Mildred. 

Mildred is a mild-eyed, mouse-colored, flea-bitten nag 
that has the reputation of throwing more motion-picture 
actors and cowboys, further and harder than any other 
one horse west of the rockies. Mildred is a docile thing 
when it comes to being saddled, but once the stranger gets 
into the seat, she can pull aesthetic dancing that makes 
Ruth St. Denis look like a stone-boat. 

Mildred and Fred held a little waltzing contest all over 

the ten-acre lot and Mildred allowed she was all tuckered 

out while Fred was still sighing for just one more Fox Trot. 

The few cattle persons that were left were hanging grog- 

gily onto the ropes when this session was over, but slid 

quietly into uncon- 
sciousness when 
Stone remarked, in 
a burst of interest, 
— "Let's send up to 
Wyoming for 
a good buck- 
Si er." 




Fred pulled every 
stunt that had been 
pulled and ended 
up by doing things 
with a rope that 
the cattlehands 
didn't know were 
possible. 



. ; .- 




Photography — the 



Triangle photog- 
raphy has been 
remarked, during 
the past year, for 
its combined soft- 
ness and brilliance, 
for its clear defini- 
tion and a certain 
landscape quality 
in location work. 
At times it has had 
genuine perspec- 
tive — a real third 
dimension. Nick- 
olaus, the enthusi- 
astic student and 
scientist, has been 
responsible for this. 



DO you know that a cameraman can ruin a photoplay 
by a careful endeavor to make all his scenes 
"pretty," just as he might ruin it by carelessness 
or lack of effort to make "pretty" scenes at the 
right time? 

Do you know that 
active photography 
possesses distinct 
shadings of tempo — 
like music — and that 
a great cameraman 
"conducts" his tempo 
as a renowned conduc- 
tor might indicate the 
time in different move- 
ments of a symphony? 

Do you know that 
the equipment neces- 
sary today before a 
cameraman can start 
shooting costs $2,000, 
of which $1,500 is for 
the bare camera 
alone? Half a dozen 
years ago $300 would 
have purchased a 
whole studio outfit. 

Do you realize that 
we are just standing 
on the ocean shore, as 
far as realizing the 
possibilities of active 
photography in itself? 
I mean the possibili- 
ties of expressing emo- 
tion and even the 
deepest shades of 
thought b y photo- 
graphic effect apart 
from all acting. 

I assume that these 
and many other things 
are not familiar to 
you, no matter how 
regularly you attend 

picture theatres and read Photoplay Magazine. The 
publicity attaching to motion pictures, reviews and the 
popular type of scientific articles have all dwelt upon the 
star, the play, or the absorbingly interesting process of 
turning dramatic ideas into permanent pictorial narratives. 
Photography has been taken for granted. 

34 




How Photoplay Mechanics have advanced 
hand in hand with the photoplay itself — 
a real, never' told romance of science. 



Yet the photography of today, and all that goes with it, 
is just as far ahead of the photography of the old Biograph 
days as — well, I'll be safe and use contemporary salaries as 
a comparison. 

Now I'll show you what I mean by that "pretty picture" 
comparison I used at first. I had a scene the other day 
in which the script called for a little girl in a tenement 
window, fading because she was shut away from the sun- 
shine and air. That scene demanded a vagueness and gloom 
about it, but the cameraman — because the kid had pretty 
hair — could not resist putting an arc outside that window, 
not to simulate sunshine, but to lighten up the room to 
catch a sheen on her hair even in the supposedly sombre 
flat. He got it. It made a very pretty picture. But the 
whole scene had to be shot over, because the camera failed 
to carry out the dramatic idea conceived and executed, in 
order, by author, director and child. 
You see the camera is the fourth in- 
gredient in any reality simulated on the 
screen. A combination of Mary Pick- 
ford and D. W. Griffith and John Gals- 
worthy couldn't make a screen reality 
if the cameraman did not do his part. 
As to tempo: an actor plays at one 
speed for comedy, at another for drama, 

Below — this trick is not a trick at all, but a scientific 
triumph and photographic convenience the credit 
for which is claimed by half a dozen moving picture 
pioneers. The "match" is, as you have probably 
supposed, not a match, but a tiny electric arc in a 
wood box operated by an insulated button. 



All moonlight and night effects are made by stopping down 
the camera and then using dye on the positive. Until a 
few months ago we had no substitute for the great German 
blue die that used to simulate absolutely perfect moonlight 
even on the old prints of three and four years ago, but now 
U. S. discoverers are mastering this difficulty as they are 
everything else, and soon an equal or greater dye will be 
our own. 




at another for pathos. So with the cameraman. He shoots 
for cheerful tempo, sharp tempo, soft tempo. He must 
register the atmosphere in his cranking, just as the director 
does in his commanded action. I can best show you by 
another illustration. 

Here is a story of a girl. She is living in poverty, fight- 



Mile-a-Minute Art 



By John M. Nickolaus 

Laboratory Chief and Director of Photography, Triangle Film Corporation 



ing temptation, struggling to live and keep clean at the 
same time. Finally, romance comes to her and she mar- 
ries a man of wealth who sincerely loves her. For a time 
her life is one of tranquil beauty; filled with happiness, 
affection and achievement. Then the shadow of her child- 
hood comes over her; her husband is made aware of the 
singular and questionable circumstances of her family — 
questions come up, anger and doubt follow them. She is 
plunged into a situation of mystery and misunderstanding. 
First, we must produce a dingy atmosphere to get over 
the hopelessness of the girl's childhood. The picture must 
be clear and easy to comprehend, but the photography 
must be dull; it must have no brilliance; it must move 
tardily; it must be a sort of compendium of those things 
in life we wish to avoid. Then comes happiness. Now, 
the cameraman can revel in the best of 191 8 photography. 
He must get sweet, smooth composition, even and perfect 
lighting, charming little surprise effects of light and 
shadow; the picture, just as a picture, must swing the 
spectator into the mood of joy. Then follows mystery. 
Now we must have strong, sharp contrasts — ink blacks 
and sunlike whites. The characters must be thrown into 
strong relief; the shadows must be cut clean as though 
with a knife, and dark. All the effects must be severe and 
keen. Your photography is, now, not dull, as in the first 
phase, nor soft and beautiful as in the second; it is sharp, 
startling, suggestive of mysterious surprises. It is 
dramatic! 

Every one of my cameramen is required to have a com- 
plete script, like the director's. He studies this care- 
fully. He goes into the action thoroughly, forms a con- 
cept of the characters, / 
studies the necessities and 
possibilities. When the 
director finally says 
"Shoot!" he's as much 
in the spirit of the 



The greatest and most thrilling 
scenes of motion pictures, such as 
above scene from "Intolerance," 
are as a matter of truth no bigger 
than a boy's thumbnail. The 
mightiest number of people, the 
most minute details you ever see 
on the screen, are all compressed 
into that size in reality. 

play as any of them, fie 
must feel every situation. 
If he's simply grinding, 
like a mechanic, he's not 
getting a photoplay; he's 
turning out yards of 
commercial photography. 
Before a set is shot, 
here on the Triangle lot, I want to see the walls. Recently 
I had to condemn the head property man's prize purchase 
— a job lot of wall paper of fine quality, generally hand- 
some appearance, and of sufficiently refined composition 
to be pasted up in any man's house. I condemned it be- 
cause the color combinations, while pleasing to the eye, 




Here is one of the 
most startling develop- 
ments of modern mo- 
tion picture photogra- 
phy — turning the lens 
directly into the sun- 
shine or lamps, and, 
with a slight shading 
of course from direct 
or fogging rays, photo- 
graphing at the source 
of light instead of from 
a reflection. 





The price of developer and other 
laboratory materials has advanced from 
five hundred to five thousand percent 
since the outbreak of the war. These 
materials are more precious than gold. 
Researchers are scouring the whole 
allied world and are buying up chemi- 
cals in microscopic amounts from 
country drugstores, and out of the way 
places, while still other researchers are 
busy with substitutes. 

were lost, blurred or blended 
in that other eye, the camera. 
Blue takes white, if not too 
dark. Yellow, of certain 
shades, is the finest of all 
photographic whites because 
it is soft. White itself, in 
any strong light, is apt to 
"halate" — that is, to throw back a blurring halo that 
seems like a radiance in the film. Red, reproduced on the 
screen, becomes black. In a careful modification of these 
primary colors, in costumes and decorations, we get an 
apparent effect of tints and shades. Thus, by using roses 



(Continued on page 115) 



35 




JOHANNA 



By Dale 



ing incident, Johanna's pent 

i 4g| up rage inspired the propelling 

foot to a shove that well nigh 

«f"J turned herself and the rocker 

1*4^ over on the floor. Only by a 

1 \j/M mighty effort did she avoid 

disaster and bring her feet 

back to terra firma. Then in 

a frenzy of exasperation, she 

grasped the chair 'firmly by 

A* the arms and bounced up and 

1 down, stamping her feet in 

noisy emphasis. 

"For- the land's sake, Jo- 
hanna! What forever are 
you doin'! " called her ma from 
the kitchen. "I never heerd 
such a racket in my life!" 

Johanna's sullen young 

brows met in an ugly line. 

"It's my racket, I guess!" she 

cried back defiantly, "and I 

only wisht I could kick the 

house down!" 

There was a quick rush 
of feet along the hallway 
and Johanna's ma stood 
in the doorway. 

"Don't you give me 
none of your sass, 
Miss!" she warned que- 
rulously. "I've a mind 
to come over there and 
box your ears!" 

Johanna loved to prepare the dainty meals for the convalescent I JUSt Wisht you d 

soldier, whenever she could induce ma to leave the kitchen. try it!" shrieked Jo- 

hanna spitefully, swing- 
JOHAXNA set one shabby little foot flat against the ing her rocker around to meet the attack. But her ma's 
porch railing and lunged backward viciously. The discretion stampeded her valor and Johanna listened to 
crazy old rocker creaked in outraged protest and her retreating footsteps with a lowering face, 
teetered too and fro on its decrepit rounds like an She would have liked to mix it with her ma, not be- 

angry hen disturbed in her setting. But Johanna paid no cause she disliked the co-author of her being, but because 
heed to the protests. She continued to lurch backward even a family row would have broken the monotony of 
and forward, faster and faster, while she totaled up the her day. In lieu of which she twisted back to the railing 
sum of her woes, and eyed the landscape with bitter dis- and took it out on the rocker. 

favor. Her thoughts drifted to the "collitch" fellow her pa had 

As far back as she could remember, her days and nights fired the month before. He had come down to the Rens- 
had been bound around by the iron rule of self denial. sailer farm to work during his vacation, and he had been 
Her ma traveled on the assumption that whatever Johanna nice to Johanna. Too nice, according to her brother, Jake, 
liked was a prompting from the Evil who had caught Johanna talking to him 

One and should be put down with all « Tohanna Enlists " over tne P asture f ence - If J a ^e had con- 

possible despatch, and her pa opined tented himself with ordering the col- 

that her ma was right when it came xt ARRAT ed, by permission, from the le S ian back t0 the fields > a11 w0 . uld have . 

to girls. Which dispensed with the 1 > Artcraft photoplay of the same been well, but he made the mistake or 

argument in so far as it concerned name; adapted from a two-part story a brotherly remark to Johanna which 

Johanna. of * imil " nan, e> £y Ru P ert Hu s h es; savor ed of the barnyard, and Take bit 

J -~ . .« , , produced with the following cast: ^, , ,-, T u V • r *i. 

Ever since the day an overexuberant the dust, while Johanna, heroine for the 

train hand had seen her riding on her , . _ „ _, _. , . , first time in her life, danced up and 

, .,, j i , ° , . , Johanna Renssaller Mary Pickford , c -r, . •, • „„ > . 

pa's milk wagon and had shouted "Maw" Renssaller Anne Schaefer down for joy. But her joy was short- 

"Hello, Cutie!" at her, she had been "Paw" Renssaller ....... .Fred Huntley lived, for the collitch fellow, grip in 

banished from the town trips, her pa Private Vibbard Monte Blue hand, hit the high road that night and 

allowing that no man, even if he was a c T ^ pt : Van Renssaller. Douglas MacLean Johanna's pa gave her the worst lar- 

, , • , . , . Al Lieut. LeRov Emorv Johnson ■* . , ,j ° . . -i ,. r 

train hand, was going to get fresh with Major Wap p ington j oh „ steppling ru P m she d ever § ot in her llfe - 

a nice girl. At memory of this humiliat- Colonel Fanner Wallace Beery The only thing that lightened the 

36 



ENLISTS 



Carroll 



gloom of Johanna's thoughts as she scuffed her shoes out 
against the baseboard of the railing was the knowledge 
that vacation had put an end to her schooling for the time 
being. Her family tried her soul severely, but the school 
teacher was more than she could bear. Moreover, Johanna 
in her nineteen years of ignorance was a conspicuous 
figure in the third reader classroom and the name, "Lunk- 
head," applied to her by a pupil high in favor, had stuck 
like the paper on the wall. Johanna scowled darkly at 
the memory. 

An alien note broke suddenly across her brooding. From 
the highway came the sound of voices to the accompani- 
ment of tramping feet. Johanna sprang to the railing and 
gazed eagerly down the road. Hundreds of 
marching, khaki-clad men met her eye, their 
colors whipping stiffly to the breeze. And 
they were heading directly her way. 

For a moment she stared in petrifaction, 
then, her rancor forgotten, she let the house- 
hold in on her discovery. 

"Ma! Ma!" she cried, "come on out! 
Quick! The sogers are comin'!" Stampeding 
down the front steps, she hurled herself out to 
the front gate as the vanguard of the regiment 
swung by. A genial trooper with a merry eye 
hailed her as she hung over the pickets. "Ah! 
there! girlie! Give us a kiss, will you?" 

Johanna beamed on him happily. Sogers A 
were certainly nice men. No one else had ^3 
ever wanted to kiss her. But j^to| 
her ma's voice sounded the ^j H^. 
knell to romance. "Mercy 
on us, Johanna! You got 
no business down here with 
all them sogers goin' by. You 
go right back up to the porch!" 

Johanna's small, none too clean 
hands tightened on the picket 
gate and her whole slim figure 
grew taut with resistance. She 
eyed her ma with hard disfavor. 
"I won't neither! I'm a-goin' to 
stay right here!" 

Johanna's pa and her brother 
Jake, and the Hired Man who 
went courtin' the girl on the 
next farm because he 
didn't dast look at Jo- 
hanna, came run- 
ning down from *£ 
the barn and di- Jfl 



"The best man wins" the two rivals agreed. And the best 
man did win — Johanna, the little country girl, saw to that. 

verted her ma's attention. Johanna continued to watch 
the passing men with a wary eye on her ma. 

But Johanna had not seen the last of her soldiers. As 
the line of khaki-clad figures swept on down the road, they 
were suddenly brought to a halt by a shouted command 
and Johanna saw their General in conference with her pa. 
Evidently some bargain had been concluded and from the 
satisfied grin on pa's face when he came back to the 
house, it was greatly to his advantage. 

"They can't git to the Corners before night-fall," she 
heard him say to ma. "They want to camp in the fields. 
There's a sick fellow with them, they don't know what to 
do with. Officer he is, too." 

Johanna burst into the conversation, regardless of the 
consequences. "He's welcome to my room," she panted. 
"I couldn't sleep a wink anyway. I'm too excited." 

So it came about that a couple of privates half led, half 

carried a drooping figure in an officer's uniform up 

the narrow stairs to Johanna's prim little room. 

Johanna's eyes followed him curiously but all 







The only thing that lightened 
the gloom of Johanna's 
thoughts as she scuffed her 
shoes out against the base- 
board of the fence railing was 
the knowledge that vacation 
had put an end to her 
schooling. 



37 



33 



Photoplay Magazine 



she could see was a glimpse of a pale, handsome face 
under a mass of black hair. Lieutenant Colonel 
LeRoy, his name was. It was a grand sounding name 
and Johanna repeated it over and over again 
through the weary watches of the night as she 
balanced herself on the kitchen chair which served 
as her bed. Once she had a beautiful dream in 
which the officer and herself were eloping in a big 
motor-car. The car was racing along at light- 
ning speed and they had almost reached the 
church when they crashed over an embankment 
and went falling down and down — 

Johanna came to her senses with a bump as 
she found herself sitting on the floor beside the 
upturned kitchen chair. After this catastrophe 
she slept with one eye open. 

On the next morning she learned that the 
soldier was still too ill to be moved and that 
the Commander had decided to camp on their 
farm indefinitely. Pa and ma were delighted be- 
cause this meant that they could sell milk to the 

men at a fair profit 
and that ma's bread 
and pies would be 
more in demand than 
ever. All day 
.,..:, long there 

was a con- 
stant stream 




Her love for LeRoy be- 
came a settled conviction 
in her mind and she in- 
terpreted his somewhat 
lordly interest in her visits 
as evidence of the same 
emotion on his part. But 
he never told her so. 



of soldiers going to and from the kitchen door to buy 
food and Johanna had the one hilarious time of her drab 
and starved young life. Her ma was too busy to notice 
her enjoyment but she did become instantly suspicious 
when she saw Johanna at the wash basin for the second 
time that day. 

"You aint washing your hands twice," she snapped. 
"They get awful sticky with the pies,"' Johanna an- 
swered with unusual meekness. 

"It's the first time you ever noticed it," ma retorted; 
and after that tried to watch Johanna out of the corner of 
her eyes. 

But she could not follow the child everywhere and she 
missed a thrilling conversation with Adjutant Van Ren- 
ssaller, a handsome young officer who looked all the 
younger for being slightly gray about the temples. His kind 
brown eyes regarded Johanna quizzically as she chattered 
about the events of the day and she found it very easy 
to confide her woes to this dignified officer who was not 
too dignified to sympathize with her wrongs or laugh at 
her jokes. 

By the end of the day Johanna had evolved a bright 
idea which she related breathlessly to pa. She wanted the 
hired man to build her a stand out by the front fence 
where she could sell things to the soldiers. Pa was in- 
clined to pooh-pooh the suggestion, chiefly because it 
came from Johanna, but the thought had taken root and 
she heard him ordering Hiram to build a booth with a 
striped awning over it which he straightway stocked up 
with soda-pop, candies and cigarettes from 
the city. 

The booth was a great success. The sol- 
diers clustered around it like bees around 
honey-suckle and Johanna longed for four 
hands instead of two that she might wait on 
them quicker. As soon as pa noticed her 
popularity with the boys, he ordered her away 
from the stand, but on that day trade fell off 
so markedly that he grudgingly allowed her 
to return. 

One day, while in the midst of her work at 




Johanna Enlists 



39 



the booth, a rough-looking private elbowed 
his way through the throng and de- 
manded strawberry pop. His man 
ner suggested that in spite of his 
uniform, he had been drinking 
something stronger than pop and 
Johanna drew back from him in 
indignation. "Don't be bashful, 
little one," the fellow leered. "And 
give us a kiss along with the drink. 
They do tell me a kiss goes with 
all your drinks." 

The words had hardly left 
his lips before a fist shot 
out suddenly from the 
crowd and he fell heavily 
to the ground. He strug- 
gled to his feet with a 
curse and stood facing 
a husky soldier whose 
fists were clenched for 
the next blow. 

"Vibbard's m y 
name," the soldier 
said grimly. "If 
you want any 
more, you'll know 
where to find me. 
Come on, Johanna, 
let's get out of 
this." 

He half led, half 
carried the bewil- 
dered girl out of the 
booth. They walked 
to her home to- 
gether almost with- 
out a word but as he 
left her at the gate, 
she tried to thank him. 
He stopped her with an abrupt gesture. 

"That's all right, kid," he said, gruffly. "You ought 
not to be left there alone with rough-necks like that. 
After this, I'm going to stick around." 

And "stick around" he did. Johanna found him an 
almost constant visitor at the booth whenever he was off 
duty. She was grateful for his protection but it soon 
becam